| Come, Glory in His Name Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
(A Hymn Concertato). By Mary Mcdonald. For SATB choir, organ and piano, congrega...(+)
(A Hymn Concertato). By
Mary Mcdonald. For SATB
choir, organ and piano,
congregation, descant
(with optional handbells
(3-5 octaves), 2
trumpets, 2 trombones).
Sacred Anthem, Ascension,
Christ the King, General.
Octavo. Published by
Lorenz Publishing Company
$3.20 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Morceau Symphonique - Concertpiece Opus 88 Trombone et Piano [Conducteur et Parties séparées] FLEX Editions
Composed by Felix Alexandre Guilmant (1837-1911). Edited by Olivier Lachurie. Tr...(+)
Composed by Felix
Alexandre Guilmant
(1837-1911). Edited by
Olivier Lachurie.
Trombone Solo and Piano
Accompaniment. For
Trombone solo and Piano.
The Must-Haves for
Trombone. Classical,
Educational. Grade 5.
Score and set of parts.
11 pages (score); 3 pages
(parts). Published by
FLEX Editions
$12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Christmas is coming Chorale SATB SATB, Piano [Octavo] Oxford University Press
Composed by Mack Wilberg (1955-). For SATB choir and piano, 4-hands (3 flutes (3...(+)
Composed by Mack Wilberg
(1955-). For SATB choir
and piano, 4-hands (3
flutes (3rd doubles
piccolo), 2 oboes, 2
clarinets, 2 bassoons, 4
horns, 3 trumpets, 3
trombones, tuba, timpani,
percussion (suspended
cymbal, sleigh bells,
xylophone, glockenspiel)
harp, piano, organ
(opt.), strings). Mixed
Voices. Christmas Carols.
Level B (easy). Octavo.
20 pages. Duration 3'.
Published by Oxford
University Press
$4.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Summer Variations for viola and piano Alto, Piano Fennica Gehrman
Viola, piano SKU: FG.55011-906-2 Composed by Harri Wessman. Classical, co...(+)
Viola, piano SKU:
FG.55011-906-2
Composed by Harri
Wessman. Classical,
contemporary. Score and
part. Fennica Gehrman
#55011-906-2. Published
by Fennica Gehrman
(FG.55011-906-2). ISBN
9790550119062. Harr
i Wessman's Summer
Variations for viola and
piano (1998) exploites
the rich and romantic
sound of the viola and
enjoys the many shades of
summer days. It is
dedicated to violist Yuri
Gandelsman, who premiered
the suite with Risto
Lauriala 15th June
1998.
Duration: c.
11'
Movements:
1. Summer theme 2.
What is this? 3.
Pizzicato 4. Con
sordino 5. Stile
concitato ostinato 6.
Tango 7.
Finale
Harri
Wessman (b. 1949) is
interested in all aspects
of music that may be
expressive, without in
any way ignoring the
possibilities of melody.
He himself describes his
harmonic method as a kind
of contrapuntally treated
jazz harmony. Wessman is
particularly preoccupied
with the ability of music
to express emotions, an
interest which has led
him to study the
so-called doctrine of the
affections and the
musical rhetoric of the
baroque era. His Eine
kleine Figurenlehre for
wind quartet and piano is
a playful application of
a set of baroque musical
figures.
His
output is dominated by
chamber and vocal music
as well as a number of
concertos for various
instruments such as the
Concerto for Trumpet and
Orchestra and the
Serenade for Piano and
String Orchestra. During
recent years pedagogic
music has become a more
and more central area in
his output with an
emphasis on creating
repertoire for budding
musicians, from beginners
to young professionals.
He has even tailored some
solo and chamber works
for young musicians that
he personally knows: e.g.
Five Trombone Pieces for
Minna Kajander (1992),
Five Horn Pieces for
Jenni Kuronen (1993),
Five Piano Etudes for
Tiina Karakorpi, Five
Trumpet Pieces for
Alevtina Parland and Five
Double Bass Pieces for
Amanda Thieme. Other
chamber and solo pieces
include Pan and the Nymph
Pitys (1979) for flute
and guitar, Three
Caprices for Konstantin
Weitz (1994) for solo
violin and Capriccio for
wind ensemble (1989). $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| One Small Child Chorale 3 parties SSA [Octavo] Hope Publishing Company
Composed by David Meece. Arranged by Lloyd Larson. Ring and Sing Series / Vocal ...(+)
Composed by David Meece.
Arranged by Lloyd Larson.
Ring and Sing Series /
Vocal Solo Sheet Music
Series. Christmas,
Sacred, Contemporary.
Octavo. 12 pages.
Published by Hope
Publishing Company
(HP.C6044).
$3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Macarella Trombone et Piano - Intermédiaire FLEX Editions
Chamber Music & Piano Accompaniment 1 Trombone 1 Piano - Grade 3 SKU: FL.FX07...(+)
Chamber Music & Piano
Accompaniment 1 Trombone
1 Piano - Grade 3 SKU:
FL.FX074328 Composed
by Jean-Michel Maury.
Original Composition.
Classical, Educational.
Score and Set of Parts.
FLEX Editions #FX074328.
Published by FLEX
Editions (FL.FX074328).
A catchy piece
that can be played for an
exam (from 5 years of
practice), audition or
concert. With an
accompaniment by
percussions (optional)
for the Latin touch! ;
Instruments: 1 Trombone 1
Piano; Difficuly Level:
Grade 3; Duration: 3 mn
10 s; Musical Style:
Classical, Educational;
Category: Original
Composition; Composer:
Jean-Michel MAURY. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| One Small Child Cloches [Conducteur] - Intermédiaire Hope Publishing Company
By Meece, David. Arranged by Lloyd Larson. For Handbells. Ring and Sing, Contemp...(+)
By Meece, David. Arranged
by Lloyd Larson. For
Handbells. Ring and Sing,
Contemporary and Sacred.
Print Music Single (3-5
oct. L3-). 8 pages.
Published by Hope
Publishing Company.
Level: L3-.
$7.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Ye Servants of God Chorale SATB SATB, Cuivre(s) Lorenz Publishing Company
Composed by Anna Laura Page. For SATB choir, piano, organ (with optional han...(+)
Composed by Anna Laura
Page.
For SATB choir, piano,
organ
(with optional handbells
(3-5
octaves), 2 trumpets, 2
trombones). Sacred
Anthem, All
Saints' Day, Christ
the King,
General. Octavo.
Published by
Lorenz Publishing Company
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Porgy and Bess Medley Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Sierra Music
By George Gershwin (1898-1937). Arranged by Bill Potts. Jazz Ensemble / Jazz Ban...(+)
By George Gershwin
(1898-1937). Arranged by
Bill Potts. Jazz Ensemble
/ Jazz Band. Bill Potts
Series. Grade 3/4. Score
and set of parts.
Published by Sierra Music
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reflections on the Mississippi Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Hal Leonard
(for Tuba and Symphonic Band). Composed by Michael Daugherty (1954-). For Concer...(+)
(for Tuba and Symphonic
Band). Composed by
Michael Daugherty
(1954-). For Concert Band
(Full Score). Michael
Daugherty Music. Grade
5-6. Softcover. Published
by Hal Leonard
$65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Four Pieces Op. 40 for Tuba or Bass Trombone and Piano - Avancé Cherry Classics
Tuba or Bass Trombone and Piano - Advanced SKU: CY.CC3072 Composed by P. ...(+)
Tuba or Bass Trombone and
Piano - Advanced SKU:
CY.CC3072 Composed by
P. I. Tchaikovsky.
Arranged by Ralph Sauer.
Classical. Score and
Parts. Cherry Classics
#CC3072. Published by
Cherry Classics
(CY.CC3072). ISBN
9790530110492. 8.5 x 11
in inches. Ralph
Sauer has beautifully
arranged four movements
from Tchaikovsky's Four
Pieces Opus. 40 for Tuba
or Bass Trombone and
Piano: 1. Chanson Triste
2. Valse 3. Reverie
interrompue 4. Danse
russe These four
movements, totaling
fourteen minutes offer
the artist a great deal
of musical contrasts,
ranging from lyrical,
dramatic, dance-like,
etc. An excellent
collection of the Russian
master's music for
advanced performers of
the Tuba or Bass
Trombone. $27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trust in the Lord with All Your Heart Shawnee Press
(Studiotrax CD) SKU: HL.35028944 Composed by Joseph M. Martin. Arranged b...(+)
(Studiotrax CD) SKU:
HL.35028944 Composed
by Joseph M. Martin.
Arranged by Brad Nix and
Joseph M. Martin. Shawnee
Sacred. Baccalaureate,
General Worship,
Graduation, Lent,
Ordination, Youth Choir.
CD only. Published by
Shawnee Press
(HL.35028944). UPC:
884088900106. 4.75x4.75
inches. Arr. Joseph M.
Martin /Brad
Nix. Uses:
General, Lent,
Ordination,
Baccalaureate,
Graduation, Youth
Choir
Scripture
: Proverbs
3:5-6
Inspired by
a beloved Scripture
passage, this powerful
admonition in song
provides musical beauty
and spiritual depth. A
sweeping theme takes this
Biblical mandate and
gives it artful wings
while a lushly produced
orchestration and
StudioTrax CD provide
several options for
performance. Unison
singing mixes with
expressive four-part
writing, adding depth and
power. Available
separately: SATB,
StudioTrax CD (Accomp.,
SplitTrax, Perf.),
Orchestration (Score &
Parts for Flute 1 & 2,
Oboe, Clarinet 1 & 2,
Bassoon, Horn 1 & 2,
Trumpet 1-3, Trombone 1 &
2, Bass Trombone/Tuba,
Timpani, Percussion,
Harp, Piano, Violin 1 &
2, Viola, Cello, Double
Bass). Duration: ca.
3:41. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| One Small Child Voix Moyenne Hope Publishing Company
Composed by David Meece. Arranged by Lloyd Larson. For medium voice. Voice solo....(+)
Composed by David Meece.
Arranged by Lloyd Larson.
For medium voice. Voice
solo. Published by Hope
Publishing Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Winter Dreams Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
For Concert Band. Composed by Michael Daugherty (1954-). Michael Daughert...(+)
For Concert Band.
Composed by Michael
Daugherty (1954-).
Michael Daugherty Music.
Softcover. Published by
Hal Leonard (HL.4004650).
$35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Chorus and piano (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR....(+)
Chorus and piano (solos:
SSATB - 0.0.0.1 -
2(corn).0.3.0 - str - bc)
SKU: BR.EB-32091
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Edition Breitkopf.
Cantata; Baroque.
Piano/Vocal Score. 20
pages. Duration 15'.
Breitkopf and Haertel #EB
32091. Published by
Breitkopf and Haertel
(BR.EB-32091). ISBN
9790004186695. 7.5 x 10.5
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $18.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Galloping Ghosts Orchestre d'harmonie - Intermédiaire/avancé Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4
SKU:
MH.1-59913-064-5
Composed by William
Ryden. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 2:45. Published
by Manhattan Beach Music
(MH.1-59913-064-5).
ISBN
9781599130644. I
wrote Galloping Ghosts (A
Ragtime March) to
conclude a concert of my
chamber music in New York
City on October 28, 1986.
It is the final part of a
work called Rags for
Divers Players. This work
was written to show the
variety possible within
the standard rag form. I
used all the players
available for the finale
-- two violins, viola,
cello, bass, flute, oboe,
clarinet, horn, bassoon,
and piano. Since this is
a rather unusual
instrumental combination
and not easy to
reassemble, I decided to
rescore the work for
concert band. Galloping
Ghosts is written in a
standard march form but
incorporates many of the
syncopations found in
ragtime. The uniquely
American music called
ragtime traces its
history to African
rhythms brought over by
slaves. Over the years
this music became welded
to European musical forms
such as the quadrille and
the march. Drums and
banjos and the minstrel
tradition lent a special
flavor, and from all
these elements ragtime
slowly evolved within the
largely unknown black
subculture of the late
19th century. In the late
1890's it emerged as a
fully developed form in
the classic piano solos
of Scott Joplin
(1869-1917). Joplin's
1899 hit, Maple Leaf Rag,
was an overnight
sensation and brought
ragtime worldwide fame.
Ensemble instrumentation:
1 Piccolo, 8 Flute 1 and
2, 2 Oboe, 1 Eb Clarinet,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 2 Eb Alto Clarinet, 3
Bb Bass and Bb Contrabass
Clarinet, 2 Bassoon 1 and
2, 2 Eb Alto Saxophone 1,
2 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Cornet 1, 3 Bb Cornet 2,
3 Bb Cornet 3, 2 Horn 1
and 2 in F, 2 Horn 3 and
4 in F, 4 Trombone 1 and
2, 4 Bass Trombone, 2
Baritone (B.C.), 2
Baritone (T.C.), 4 Tuba,
1 String Bass, 1 Timpani,
1 Xylophone, 3 Percussion
1, 3 Percussion 2. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Osud (Fate) Chorale SATB - Intermédiaire/avancé Barenreiter
4 soprano voice solos/alto voice solo/2 tenor voice solos/baritone voice solo/ba...(+)
4 soprano voice
solos/alto voice solo/2
tenor voice
solos/baritone voice
solo/bass voice solo/SATB
choir/piccolo/3 flutes/2
oboes/english horn/2
clarinets/bass clarinet/2
bassoons/contrabassoon/4
horns/3 trumpets/4
trombones/tuba/timpani/tr
iangle/bass dru (solo
voices, SATB Choir,
Fl-picc, 3Fl, 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, 4Hn, 3Trp,
4trombone, Tb, timpani,
Tri, Tr-Gr, Tam, Be, Xyl,
Gl, harp, Org, piano, 2
Violin, Viola, Cello,
Double Bass, (2 Va-dam),
Kindertrompete, Tr-Kl) -
Level 4 SKU:
BA.BA09562-01
Three novel-like
scenes. Composed by
Leos Janacek. Edited by
Jirà Zahrádka. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA09562_01.
Published by Baerenreiter
Verlag (BA.BA09562-01).
ISBN 9790260107380. 34
x 27.5 cm inches. Text
Language: Czech, English,
German. Preface:
Zahrádka, JirÃ.
Text: Bartošová,
Fedora. Janacek's
operaOsudis an
extraordinary example of
the creative boldness of
the composer and presents
demanding dramaturgical
challenges. This new
critical edition is based
on a thorough comparison
of all surviving sources.
The principle source is a
copyist's copy of
authorised by Janacek in
which all revisions are
marked. Further sources
include a manuscript copy
of the vocal score
together with the
orchestral parts and
various copies of the
libretto. The score of
this new edition will be
published as part of
theComplete Critical
Edition of the Works of
Leos Janacek.
*
First critical edition of
this opera * Foreword
on the genesis of the
work and its reception by
Jiri Zahradka
(Cz/Eng/Ger) * New
idiomatic piano reduction
by Rasmus Baumann *
Singable German
translation
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
$847.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony no. 4 H 305 Orchestre Barenreiter
Full orchestra (Fl-Picc , 3 Fl-A , 3 Ob , EnglHn , 3 clarinet , 2 bassoon , 4 Hn...(+)
Full orchestra (Fl-Picc ,
3 Fl-A , 3 Ob , EnglHn ,
3 clarinet , 2 bassoon ,
4 Hn-Co , 3 Trp , 3
trombone , Tb , timpani ,
Schlgw , Piano , 2
Violin, Viola, Cello,
Double Bass) SKU:
BA.BA10572-01
Composed by Bohuslav
Martinu. Edited by Sharon
Andrea Choa. This
edition: complete
edition, urtext edition.
Linen. The Bohuslav
Martinu Complete Edition
II/1/4. Complete edition,
Score. No. 4. Duration 31
minutes, 30 seconds.
Baerenreiter Verlag
#BA10572_01. Published by
Baerenreiter Verlag
(BA.BA10572-01). ISBN
9790260107649. 33.5 x
26.5 cm inches. Text
Language: Czech/English.
Preface: Sharon Andrea
Choa.
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
$469.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hark! the Herald Angels Sing with Angels We Have Heard on High Chorale SATB Hope Publishing Company
SATB choir; clarinet; flute; trombone; trumpet SKU: HP.C5771C Arranged by...(+)
SATB choir; clarinet;
flute; trombone; trumpet
SKU: HP.C5771C
Arranged by Jay Althouse.
Piano with Optional
B-Flat Instrument,
Clarinet, Flute,
Trombone, Trumpet.
Christmas, Sacred.
Performance/Accompaniment
CD. Hope Publishing
Company #C5771C.
Published by Hope
Publishing Company
(HP.C5771C). UPC:
763628957711. Luke
2:10-14, 2 Corinthians
5:19, Revelation 15:4,
Hebrews 1:6, Matthew
1:21-23, John 1:1 1 John
1:14, Philippians 2:7,
Isaiah 9:6, Malachi 4:2,
1 Peter 1:3. Medley
of two familiar Christmas
carols This exuberant
medley of two cherished
Christmas carols comes
from Jay Althouse's
Joy to the World: A
Celebration of
Carols, our
top-selling Christmas
musical in 2011. The
effective use of rhythmic
energy makes this a
captivating setting for
worship or concert! The
Instrumental packet
contains a Conductor's
Score and parts for:
Flute, B-flat Clarinet, 2
Trumpets, Trombone,
Electric Bass and Snare
Drum. $29.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Opus 4 Big band [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By Charles Mingus. Arranged by Boris Koslov. Charles Mingus Big Band Jazz. Publi...(+)
By Charles Mingus.
Arranged by Boris Koslov.
Charles Mingus Big Band
Jazz. Published by Hal
Leonard.
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Florida Tableau [Conducteur et Parties séparées] Brixton Publications
Composed by Howard J. Buss (1951-). For clarinet, trombone, and piano. A picture...(+)
Composed by Howard J.
Buss (1951-). For
clarinet, trombone, and
piano. A picturesque work
in 3 movements: The March
of Progress, Pastorale,
and The Eternal Sea. A
curious musical blend of
the old and the new, much
like modern Florida
itself.. 20th Century.
Grade 5. Score and parts.
Composed 1987. Duration
16'40 . Published by
Brixton Publications
$18.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
1 |