Full Score. Composed by Poul Ruders. Music Sales America. Classical. Scor...(+)
Full Score.
Composed by Poul Ruders.
Music Sales America.
Classical. Score Only.
Composed 2017. 80 pages.
Edition Wilhelm Hansen
#WH32201. Published by
Edition Wilhelm Hansen
(HL.232526).
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
Piano and orchestra
SKU:
FG.55011-372-5
Composed by Matthew
Whittall. Study score.
Fennica Gehrman
#55011-372-5. Published
by Fennica Gehrman
(FG.55011-372-5).
ISBN
9790550113725.
Imag
es of the sea figure
prominently throughout my
life and memories: from
holidays on the Atlantic
coast during my Canadian
childhood to my current
Baltic home, and the
imagined, only later
experienced Mediterranean
of my ancestral heritage.
As an immigrant (son of
an immigrant) bound to
two northern countries,
the sea is emblematic of
my twin homelands, from
the expanses of water
surrounding them to those
separating them. A Mari
usque ad Mare. The sea is
also an enduring image of
the unknown, of expanses
unexplored, of the raw
power of nature and, for
too many currently, of
terror holding a hope of
refuge - or the pain of
loss. Such disparate
ideas were captured for
me in the seascapes of
the New York painter
MaryBeth Thielhelm, whom
I met in 2008 during a
residency on the Gulf of
Mexico. Her vast,
abstract, nearly
monochromatic depictions
of imaginary seas in
wildly varying moods were
the catalyst for a
concerto where the piano
is frequently far from a
hero battling a
collective, but rather
acts as a channel for
elemental forces surging
up from the orchestra,
floating - sometimes
barely so - on its
constantly shifting
surface. There are few
themes to speak of,
beyond a handful of
iconic ideas that
periodically cycle
upward. Rather, the
piano's material is
largely an ornamentation
of the more primal
rhythmic and harmonic
impulses from the
orchestra below - a
poetic interpretation, if
you will, of the more
immediate experience of
facing the vastness of
some unknown body of
water. The title
Nameless Seas is borrowed
from one of Thielhelm's
exhibitions, as are those
of the four movements,
which are bridged
together into two halves
of roughly equal weight -
one rhapsodic and free,
the other more
single-minded and direct,
separated only by a short
breath. The opening
movement, Nocturne, is
predominantly calm, if
brooding, darkness and
light alternating
throughout. Lyrical
arabesques sparkle over
gently lapping
cross-currents in the
strings and mirrored
timpani, the piano's full
power only rarely
deployed. The waves
gradually build, drawing
in the full orchestra for
a meeting of forces in
Land and Sea, a brighter,
more warmly lyrical scene
that unfolds in series of
dreamlike, sometimes even
nostalgic visions, which
for me carry strong
memories of sitting on
rocks above surging
Atlantic waves. The third
movement, Wake, is a
fast, perpetual-motion
texture of glinting,
darting rhythms and
sudden shafts of light,
with a prominent part for
the steel drums, limning
the piano's quicksilver
figurations. An ecstatic
climax crashes into a
solo cadenza that grows
progressively calmer and
more introspective rather
than virtuosic. Much of
the tension finally
releases into Unclaimed
Waters, a drifting,
meditative seascape in
which the piano is
progressively engulfed by
a series of ever-taller
waves, ultimately
dissolving into a
tolling, rippling
continuum of sound.
It has been a great
privilege to realize such
a long-held dream as this
piece, and to write it
for not one, but two
great pianists.
Risto-Matti Marin and
Angela Hewitt, both of
whose friendship and
support have been
unfailing and humbling,
share the dedication.
Nameless Seas was
commissioned by the
PianoEspoo festival and
Canada's National Arts
Centre, with the
premieres in Ottawa and
Helsinki led by Hannu
Lintu and Olari Elts.
Thanks are due also to
the Jenny and Antti
Wihuri fund, whose
generous grant provided
me with much-needed time,
and Escape to Create in
Seaside, Florida, the
source to which I
returned to do a large
part of the work.
Piano/harpsichord and orchestra (solo: pno - 2.2.2.2. - 2.2.1.0. - timp - str) <...(+)
Piano/harpsichord and
orchestra (solo: pno -
2.2.2.2. - 2.2.1.0. -
timp - str)
SKU:
BR.PB-4485
Composed
by Frederic Chopin.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Frederic Chopin's
Piano Concertos in e
minor op. 11 and
f minor op. 21
were written when the
composer had just barely
entered his
twenties.
EB 3942
is printed in score form;
two copies are needed for
performance.Have a look.
Solo concerto; Romantic.
Full score. 68 pages.
Duration 30'. Breitkopf
and Haertel #PB 4485.
Published by Breitkopf
and Haertel (BR.PB-4485).
ISBN 9790004203910. 9
x 12
inches.
Frederic
Chopin's Piano Concertos
in e minor op. 11 and f
minor op. 21 were written
when the composer had
just barely entered his
twenties. Since he needed
effective, virtuoso works
for his major concert
appearances with
orchestral accompaniment,
he decided to simply
write them himself.
Although it is clear that
the piano part always
holds center stage in
these pieces, Chopin
never degrades the
orchestra by turning it
into a stereotypical
cue-giver. This is
confirmed by the
imaginatively
orchestrated tutti
transition in the first
movement, the lengthy
string tremolo in the
middle movement and the
col legno passage in the
finale.The first
performance of the
f-minor concerto took
place in Warsaw on 17
March 1830. The first
edition of the score was
published in 1879 by
Breitkopf & Hartel in
Leipzig. The present
edition for two pianos by
Ignaz Friedmann was first
issued in 1913 in the
framework of the
12-volume Chopin edition
for which the Polish
pianist undertook a
careful evaluation of the
sources.
Frederic
Chopin's Piano Concertos
in e minor op. 11 and f
minor op. 21 were written
when the composer had
just barely entered his
twenties.
Solo
concerto; Romantic. Full
score. 120 pages.
Duration 30'. Breitkopf
and Haertel #PB 32026.
Published by Breitkopf
and Haertel
(BR.PB-32026).
ISBN
9790004215142. 10 x 12.5
inches.
Finally
performable again Eduard
Franck's Piano Concerto
in D minor Op. 13 is the
first major orchestral
work by this Mendelssohn
pupil. The pianist,
already celebrated at a
young age, had early
plans for the piano
concerto that he
completed at the latest
in 1846. Contemporary
critics emphasized the
catchy motives and the
balanced relationship of
solo instrument to the
orchestra. Ignaz
Moscheles was impressed
by the noble manner, the
poetic ideas, and the
orchestration. Thanks to
the kind support of the
Accademia di Santa
Cecilia, in whose library
the orchestral parts,
once thought to be lost,
are preserved, the work
can be introduced for the
first time in the present
edition.
For Piano. Includes a printed music score on high-quality ivory paper; and a dig...(+)
For Piano. Includes a
printed music score on
high-quality ivory paper;
and a digital stereo
compact disc,
voluminously indexed for
your convenience,
containing a complete
version with soloist;
then a second performance
of the orchestral
accompaniment, minus you,
the soloist. Published by
Music Minus One.
Kaintuck' Piano et Orchestre [Conducteur] Carl Fischer
(Poem for Piano and Orchestra - Full Score). By William Grant Still (1895-1978)....(+)
(Poem for Piano and
Orchestra - Full Score).
By William Grant Still
(1895-1978). Orchestra.
For Flute I, Flute II,
Flute III, Piccolo, Oboe
I, Oboe II, English Horn,
Clarinet I, Clarinet II,
Clarinet III, Bass
Clarinet, Bassoon I,
Bassoon II, Horn I, Horn
II, Horn III, Horn IV,
Trumpet I, Trumpet II,
Trumpet III, Tenor I,
Tenor II, Tenor III,
Tuba, . Full score
(large). Standard
notation. 48 pages.
Published by Carl Fischer
By George Gershwin (1898-1937). Arranged by Marco Tamanini. For piano and concer...(+)
By George Gershwin
(1898-1937). Arranged by
Marco Tamanini. For piano
and concert band. Baton
Music Instrumental
Series. For Piano and
Orchestra. Grade 5.
Score. Duration 16:00.
Published by Baton Music
Piano Concerto No.1 Piano et Orchestre [Conducteur et Parties séparées] Baton Music
By Sergei Prokofiev (1891-1953). Arranged by Douglas McLain. For piano and conce...(+)
By Sergei Prokofiev
(1891-1953). Arranged by
Douglas McLain. For piano
and concert band. Baton
Music Instrumental
Series. Opus 10. Grade 5.
Full score and parts.
Duration 16:00. Published
by Baton Music
Piano/harpsichord and orchestra (solo: pno - 1.2.0.2. - 2.0.0.0. - timp - str) <...(+)
Piano/harpsichord and
orchestra (solo: pno -
1.2.0.2. - 2.0.0.0. -
timp - str)
SKU:
BR.PB-14560
Urtext
based on the new Complete
Edition (G. Henle
Verlag). Composed by
Ludwig van Beethoven.
Edited by Hans-werner
Kuthen. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
Solo
concerto; Classical. Full
score. 80 pages. Duration
24'. Breitkopf and
Haertel #PB 14560.
Published by Breitkopf
and Haertel
(BR.PB-14560).
ISBN
9790004211014. 10 x 12.5
inches.
Beethoven's
autographs of the first
three piano concertos
opp. 15, 19 and 37 are
the earliest of all
orchestral scores which
have survived integrally.
Thanks to source studies,
we know today that a
first version of the
Concerto in Bb major op.
19 had already originated
in Bonn in 1790 at the
latest. It was followed
by a second version
written in Vienna most
likely in 1793 which
included the Rondo in Bb
major WoO 6 as finale. A
third version followed
most probably in 1794 and
led to the fourth and
final version, written in
Prague in October 1798,
as Beethoven sojourned
there at the beginning of
the concert season. (from
the Preface)This
autograph together with
the autograph solo part
which was made at the
beginning of 1801 and the
parts printed in the same
year, are the main
sources of the present
edition.
Urtext. Composed
by George Gershwin.
Orchestra; Softbound.
Edition Breitkopf. Solo
concerto; Early modern;
Music post-1945. Piano
reduction. 88 pages.
Duration 36'. Breitkopf
and Haertel #EB 10859.
Published by Breitkopf
and Haertel
(BR.EB-10859).
ISBN
9790201808598. 9.5 x 12
inches.
After
achieving sensational
success with the musical
Lady, be good! , with
evergreens such as
Fascinating Rhythm and
The Man I love, as well
as with his Rhapsody in
Blue , Gershwin premiered
his Concerto in F for
piano and orchestra as a
soloist at Carnegie Hall
in 1925. Now, the new
superstar of Broadway had
also arrived at the
center of New York's
classical music scene. In
its eventful history, the
work went through
numerous changes,
cuttings, arrangements,
many of which doubtful
and unauthorized. Even
the first and so far only
printed orchestral score,
edited by Frank
Campbell-Watson,
published in 1942 five
years after Gershwin's
death, contains many
unauthorized
interventions. Through
years of research, editor
Norbert Gertsch has
succeeded in ridding the
work of all unauthorized
additions and alterations
and thus reconstructing
an Urtext in its original
literal sense from the
complex source material -
from autograph sketches
to early recordings. The
first text-critical
edition of the work is a
joint production of
Breitkopf
(score/orchestral parts)
and G. Henle Verlag
(piano reduction).
Piano/harpsichord and orchestra (solo: pno - 2.2.2.2 - 2.2.0.0 - timp - str) ...(+)
Piano/harpsichord and
orchestra (solo: pno -
2.2.2.2 - 2.2.0.0 - timp
- str)
SKU:
BR.PB-5507
Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Christoph Hellmundt.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library).
A
repertoire work in an
Urtext performing
editionEB 8655 is printed
in score form; two copies
are needed for
performance.
Solo
concerto; Romantic. Full
score. 96 pages. Duration
25'. Breitkopf and
Haertel #PB 5507.
Published by Breitkopf
and Haertel (BR.PB-5507).
ISBN 9790004211663. 10
x 12.5 inches.
The
music text is based on
the volume of the Leipzig
Mendelssohn Complete
Edition, in which
Christoph Hellmundt
rightly pointed to the
existence of a secondary
version for piano and
string orchestra as well
as an arrangement for
piano solo made by the
composer. Nevertheless,
Mendelssohn's op. 40
remains foremost a
Concerto for piano and
orchestra - a fact that
is unequivocally
underscored by the
practical new
edition.
A
repertoire work in an
Urtext performing
edition.
Composed
by Antonin Dvorak. Edited
by Robbert van Steijn.
This edition: urtext
edition. Paperback.
Barenreiter Urtext.
Score. Opus 33. Duration
00:40:00. Baerenreiter
Verlag #BA10420_00.
Published by Baerenreiter
Verlag (BA.BA10420).
ISBN 9790260108387. 31
x 24.3 cm inches. Key: G
minor. Preface: David R.
Beveridge.
Composed
in 1876, Dvorákâ??s
only piano concerto has
been overshadowed by his
other two concertos, for
violin and violoncello,
respectively. Performers
and editors have often
attempted to upgrade this
pianistically unassuming
work by adding
stylisations of their
own. Our Urtext edition
revaluates the sources,
frees the work from
subsequent interventions
and presents it to full
advantage in its
authentic
form.
The
principal source of our
new edition is the first
complete print issued by
the publisher Hainauer in
1883, which has been
meticulously collated
with the autograph. The
anonymous original piano
reduction is so full of
mistakes that editor
Robbert van Steijn
decided instead to
present the version by
Karel Å olc.
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
Urtext. Composed
by George Gershwin.
Edited by Norbert
Gertsch. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library). Solo
concerto; Early modern;
Music post-1945. Full
score. 136 pages.
Duration 36'. Breitkopf
and Haertel #PB 15140.
Published by Breitkopf
and Haertel
(BR.PB-15140).
ISBN
9790004214763. 10 x 12.5
inches.
After
achieving sensational
success with the musical
Lady, be good!, with
evergreens such as
Fascinating Rhythm and
The Man I love, as well
as with his Rhapsody in
Blue, Gershwin premiered
his Concerto in F for
piano and orchestra as a
soloist at Carnegie Hall
in 1925. Now, the new
superstar of Broadway had
also arrived at the
center of New York's
classical music scene. In
its eventful history, the
work went through
numerous changes,
cuttings, arrangements,
many of which doubtful
and unauthorized. Even
the first and so far only
printed orchestral score,
edited by Frank
Campbell-Watson,
published in 1942 five
years after Gershwin's
death, contains many
unauthorized
interventions. Through
years of research, editor
Norbert Gertsch has
succeeded in ridding the
work of all unauthorized
additions and alterations
and thus reconstructing
an Urtext in its original
literal sense from the
complex source material -
from autograph sketches
to early recordings. The
first text-critical
edition of the work is a
joint production of
Breitkopf
(score/orchestral parts)
and G. Henle Verlag
(piano reduction).