Orchestra SKU: FG.042-08761-9 Composed by Jean Sibelius. Score. Published...(+)
Orchestra
SKU:
FG.042-08761-9
Composed by Jean
Sibelius. Score.
Published by Fennica
Gehrman (FG.042-08761-9).
ISBN
979-0-042-08761-9.
The Overture in E major
and the Scene de Ballet
are among the earliest
works written by Sibelius
for orchestra. Infused
with all the freshness of
youth, they also hint at
the great symphonist to
come. Sibelius's handling
of the orchestra is
surprisingly refined and
colourful.
By Peter Ilyich Tchaikovsky. Arranged by Merle J. Isaac. By Peter I. Tchaikovsky...(+)
By Peter Ilyich
Tchaikovsky. Arranged by
Merle J. Isaac. By Peter
I. Tchaikovsky / arr.
Merle Isaac. For Full
Orchestra. Full
Orchestra. Concert Full
Orchestra. Level: 3.5
(grade 3.5). Conductor
Score and Parts. 176
pages. Duration 2:38.
Published by Alfred
Publishing.
The Limpid Stream Op. 39 (New Collected Works of Dmitri Shostakovich - Volume 64...(+)
The Limpid Stream Op. 39
(New Collected Works of
Dmitri Shostakovich -
Volume 64B). By Dmitri
Shostakovich (1906-1975).
For Orchestra (Score).
DSCH. Hardcover. 488
pages. DSCH #NCW64B.
Published by DSCH
Orchestra SKU: SU.28120090 For Orchestra. Composed by Alla Pavolva...(+)
Orchestra
SKU:
SU.28120090
For
Orchestra. Composed
by Alla Pavolva.
Orchestra. Study Score.
Subito Music Corporation
#28120090. Published by
Subito Music Corporation
(SU.28120090).
Orchestra
Duration: 46' Composed:
2004 Published by: Alla
Pavlova Music Alla
Pavlova has written music
for the ballet Sulamith,
based on the 1923 story
by Russian writer
Alexandre Kuprin about
the love of King Solomon
for Sulamith, a servant
from his vineyard.
Instrumentation is for
full symphony (winds:
3.2.3.2.; brass: 4.;
4.3.1.; Timp.; Perc.
(Bells; Bass-dr.;
Snare-dr; Susp.cymb.;
Triangle; Tambour.;
Tom-tom; Tam-tam;
Vibroph.; Glock.); Hp;
Pn; Organ (or Harmon.);
Strings). The Sulamith
Suite (which has been
recorded by the Moscow
Philharmonic for Naxos)
can be heard at
http://www.allapavlova.co
m/listen.html.
Performance materials
available on rental
only:.
Orchestra SKU: AP.12-0571538320 For Twelve Players. Composed by Ju...(+)
Orchestra
SKU:
AP.12-0571538320
For Twelve
Players. Composed by
Julian Anderson. Chamber
Ensemble; Larger Works;
Masterworks; Performance
Music Ensemble. Faber
Edition. 20th Century;
Masterwork. Score. Faber
Music #12-0571538320.
Published by Faber Music
(AP.12-0571538320).
ISBN 9780571538324.
English.
Requires
an instrumental ensemble
of 12 players. The Comedy
of Change was
commissioned by the
Rambert Dance Company and
Het Concertgebouw, for
Asko / Schönberg. The
UK premier took place as
a ballet choreographed by
Mark Baldwin at the
Theatre Royal Plymouth by
Rambert Dance Company,
conducted by Paul Hoskins
on September 16,
2009.
By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Richard Meyer. For Full Orc...(+)
By Peter Ilyich
Tchaikovsky (1840-1893).
Arranged by Richard
Meyer. For Full
Orchestra. Full
Orchestra. First
Philharmonic. 1 (grade
1). Conductor Score and
Parts. 106 pages
Orchestra SKU: HL.14040463 Composed by Pierre Villette. Music Sales Ameri...(+)
Orchestra
SKU:
HL.14040463
Composed
by Pierre Villette. Music
Sales America. Classical.
Score. Editions Musicales
Transatlantiques
#ETR001131. Published by
Editions Musicales
Transatlantiques
(HL.14040463).
By Ottorino Respighi. Arranged by Jerry Brubaker. For Full Orchestra. Full Orche...(+)
By Ottorino Respighi.
Arranged by Jerry
Brubaker. For Full
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Level: 2.5
(grade 2.5). Conductor
Score and Parts. 58
pages. Published by
Alfred Publishing.
Large orchestra (Orchestra) SKU: HL.49012995 Choreographic poem. C...(+)
Large orchestra
(Orchestra)
SKU:
HL.49012995
Choreographic
poem. Composed by
Hans Werner Henze. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1949/1992. 72
pages. Duration 16'.
Schott Music #ED 8955.
Published by Schott Music
(HL.49012995).
ISBN
9790001125246.
One
of my earliest works for
orchestra, this piece was
strongly influenced by
the aural and visual
impressions left by the
London Sadler's Wells
Ballett's visit to
Hamburg in 1949.- Hans
Werner Henze.
For Orchestra.
Composed by Nancy
Galbraith. Orchestra.
Study Score. Composed
1997. Duration 3'. Subito
Music Corporation
#90810040. Published by
Subito Music Corporation
(SU.90810040).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 2tbn(bs),
tba; timp, 4 perc, hrp,
pno; strings Duratiion:
3' Full Score & Parts:
available on rental
Composed: 1997 Published
by: Subito Music
Publishing Composer's
Note: A Festive Violet
Pulse opens with lively
textures in the woodwinds
which are used as
accompaniment for a
melodic statement in the
violins. This melody is
answered contrapuntally
by the celli, and
develops into a web of
repeated melodic phrases.
The middle section is
very rhythmic,
highlighting the
percussion section and
making use of many
polyrhtyhms. A soft
tremolo begins to emerge
in the strings and
gradually evolves into
the foreground material.
A repeated note theme
enters in the celli and
is answered sequentially
by each string section. A
strong statement of the
original theme in the
trumpets and violins
climaxes the movement.
--N.G.
Orchestra SKU: HL.50499161 Balletto In Due Atti. Composed by Ferre...(+)
Orchestra
SKU:
HL.50499161
Balletto In Due
Atti. Composed by
Ferrero L. MGB.
Contemporary Music. Score
Only. Composed 2008.
Ricordi #NR139945.
Published by Ricordi
(HL.50499161).
Orchestra SKU: HL.49005134 Ballett in drei Akten von Frederick Ashton ...(+)
Orchestra
SKU:
HL.49005134
Ballett in drei Akten
von Frederick Ashton
(frei nach De la
Motte-Fouque).
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Piano
reduction. Composed
1956-1957. 224 pages.
Duration 110'. Schott
Music #ED 4767. Published
by Schott Music
(HL.49005134).
ISBN
9790001054997.
9.0x12.0x0.669
inches.
2 (2. auch
Picc.) * 1 * Engl. Hr. *
1 * Bassklar. * 1 * Kfg.
- 4 * 3 * 2 * 1 - P. S.
(Trgl. * hg. Beck. *
Beckenpaar * 2 Tamt. * 2
Tomt. * Schellentr. *
Militartr * gr. Tr. *
Vibr. * Gl.) (3 Spieler)
- 2 Hfn. * Cel. (auch
Klav.) * Git. - Str. *
Hinter der Buhne:
Glocke.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Orchesterversion und
Ballettversion. Die
Ballettversion enthalt
ein zusatzliches
Klavier-Solo, das in der
Orchesterversion nicht
enthalten ist.
Composed by Gunter
Bialas. Paperback. Study
score. Composed 1971. 102
pages. Duration 23
minutes. Baerenreiter
Verlag #BA06066_00.
Published by Baerenreiter
Verlag (BA.BA06066).
ISBN 9790006475230. 27
x 20.6 cm
inches.
Orchestral
version and ballet
version. The ballet
version includes an
additional piano solo
which is not contained in
the orchestral
version.
Orchestra (Score & Parts) SKU: HL.48180419 For Orchestra. Composed...(+)
Orchestra (Score & Parts)
SKU: HL.48180419
For Orchestra.
Composed by Bohuslav
Martinu. Leduc.
Classical. 50 pages.
Alphonse Leduc #AL17700.
Published by Alphonse
Leduc (HL.48180419).
UPC: 888680846893.
9.0x12.0x0.34
inches.
Composed by
the Czech composer
Bohuslav Martinu in 1927,
The Kitchen Revue is a
ballet initially created
for a sextet. This score
was reviewed and tailored
for an orchestra. This
ballet, talking about the
life of kitchen utensils,
is divided in ten
sections: 1. Prologue
(Allegretto) 2.
Introduction (Tempo de
marche) 3. Danse du
moulinet autour du
caudron (Poco meno) 4.
Danse du chaudron et du
couvercle (Allegro) 5.
Tango (Danse d'amour.
Lento) 6. Duel (Poco a
poco allegro. Tempo di
Charleston) 7. Entracte
(Lamentation du chaudron.
Allegro moderato) 8.
Marche funebre (Adagio)
9. Danse radieuse (Tempo
di marche) 10. Fin du
drame (Allegretto) The
story focuses on the
marriage of the Pot and
Lid which is put at risk
by the Twirling Stick,
and the music features
some strong jazz
influences. Bohuslav
Martinu (1890-1959) also
wrote 13 other ballets,
15 operas and 6
symphonies and some
orchestral and chamber
music.
