Prometheus [Conducteur et Parties séparées] Subito Music
Percussion Ensemble (6 players) SKU: SU.80111701 For Percussion Ensemb...(+)
Percussion Ensemble (6
players)
SKU:
SU.80111701
For
Percussion Ensemble (6
players). Composed by
Meyer Kupferman.
Percussion, Percussion
Ensemble. Score & Parts.
Subito Music Corporation
#80111701. Published by
Subito Music Corporation
(SU.80111701).
Prometheus was
composed in the spring of
1975 during my stay in
Munich. The work was
conceived as a complete
scene for my opera, also
called Prometheus, in
which the percussionists
are on stage as the main
actors. With the help of
dancers, projections, and
a dazzling array of
lighting effects, the
opera re-enacts the story
of Prometheus. Earlier
and later in the opera
there are singing
soloists and a chorus,
and an orchestra of many
brass and wind
instruments added to the
percussion. Strings are
used only for a few
lyrical sections. The
percussion group is made
up of six players, five
of whom are surrounded by
a large phalanx of drums,
cymbals, gongs, bells,
wood, skin, metal and
mallet instruments. The
slide whistle is even
used to suggest the wind
on the high mountain that
Prometheus is chained to.
The sixth player is
represented by the four
timpani, and is somewhat
set apart from the others
because he is the musical
image of the
hero--Prometheus. The
timpani cadence is the
high point of the scene,
with the lighting
throwing everything on
the stage into a
silhouette, except for
the face and hands of the
timpanist. The work is
built around the concept
of a God choosing to
bring fire and energy to
mankind; he imparts the
gift of work and the
freedom for man to choose
his own destiny. The five
big bass drums explode in
stretto-like passages
suggesting the anger of
the Gods. Ultimately
Prometheus is punished,
but man once tasting
freedom, becomes the
winner. Prometheus was
composed under a
Guggenheim Fellowship and
was first performed by
Paul Price's Manhattan
School Percussion
Ensemble in
1976.Percussion Ensemble
(6 players) Duration:
13’30 Composed:
1975 Published by:
Soundspells
Productions.
Six Cellos SKU: IM.3924 Composed by Ludwig van Beethoven. Arranged by Eri...(+)
Six Cellos
SKU:
IM.3924
Composed by
Ludwig van Beethoven.
Arranged by Eric
Bartlett. Parts.
International Music Co.
#3924. Published by
International Music Co.
(IM.3924).
In
Beethoven's ballet,
Prometheus creates humans
from clay and water. This
excerpt evokes the harp
of Amphion arousing
feelings of love. With
score and parts.
By Ludwig van Beethoven (1770-1827). Arranged by Rick England. Orchestra. Master...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Rick England. Orchestra.
Masterworks; Score;
String Orchestra.
Highland String
Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement;
Romantic. Grade 2.5. 12
pages. Published by
Alfred Music Publishing
By Ludwig van Beethoven (1770-1827). Arranged by Rick England. Orchestra. For st...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Rick England. Orchestra.
For string. Masterworks;
Part(s); Score; String
Orchestra. Highland
String Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement;
Romantic. Grade 2.5. 124
pages. Published by
Alfred Music Publishing
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
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
Trumpet SKU: SU.80118923 For Trumpet. Composed by Meyer Kupferman....(+)
Trumpet
SKU:
SU.80118923
For
Trumpet. Composed by
Meyer Kupferman. Brass,
Trumpet. Score. Subito
Music Corporation
#80118923. Published by
Subito Music Corporation
(SU.80118923).
Trumpet
Duration: 10 ' Composed:
1986 Published by:
Soundspells Productions
The Fires of Prometheus
(1986) is a dramatic work
for solo trumpet and two
pianos in echo. It was
composed for and recorded
by trumpeter Thomas
Stevens.
Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Orchestra SKU: HL.49006198 Study Score. Composed by Carl Orff. Thi...(+)
Orchestra
SKU:
HL.49006198
Study
Score. Composed by
Carl Orff. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1963-1967. 428 pages.
Duration 130'. Schott
Music #ED6337. Published
by Schott Music
(HL.49006198).
ISBN
9790001067386. UPC:
073999353501.
7.5x10.75x1.13 inches.
Ancient Greek -
German.
Tragodie
des Aischylos. Soli,
mixed choir and
orchestra. Study score -
Old Greek/German.
(Overture). By Ludwig van Beethoven (1770-1827). Arranged by Max Unger. For Orch...(+)
(Overture). By Ludwig van
Beethoven (1770-1827).
Arranged by Max Unger.
For Orchestra, Score
(Study Score). Eulenburg
Taschenpartituren (Pocket
Scores). Study Score. 46
pages. Hal Leonard
#ETP625. Published by Hal
Leonard
SKU: HL.49007972 Auffuhrungspraxis der Buhnen-, Orchester- und Chorwer...(+)
SKU: HL.49007972
Auffuhrungspraxis der
Buhnen-, Orchester- und
Chorwerke. Composed
by Gü, ller, and
nther Mö. This
edition: Hardback/Hard
Cover. Book. Edition
Schott. Classical. 160
pages. Schott Music #ED
8390. Published by Schott
Music (HL.49007972).
ISBN 9783795702908.
German.
Das
Schlagwerk spielt in den
Buhnen- und
Orchesterwerken von Carl
Orff eine entscheidende
Rolle. Schlaginstrumente
treten an die Stelle der
sonst ublichen
Instrumentengruppen und
bilden so eine vollig
neue Art der
Instrumentation. In
diesem Buch, das aus der
Auffuhrungspraxis heraus
entstanden ist, werden im
ersten Teil alle
Orff-Schlaginstrumente in
Wort und Bild
vorgestellt. Im Hauptteil
wird die Verwendung des
Schlagzeugs in jedem
einzelnen Werk erortert,
wobei vor allem genaue
Aufstellungs-Ubersichten
wie auch
Anderungs-Tabellen
wertvolle Hilfen fur die
praktische Realisierung
bedeuten. Der Autor ist
Schlagzeuger im
Philharmonischen
Orchester der Stadt
Augsburg und seit Jahren
mit Auffuhrungen von
Orff-Werken vertraut.
Performed by Ludwig van Beethoven (1770-1827), edited by Blake Neely, Richard Wa...(+)
Performed by Ludwig van
Beethoven (1770-1827),
edited by Blake Neely,
Richard Walters. For solo
piano. Format: piano solo
book. With standard
notation and introductory
text. Classical period
and romantic period. 224
pages. 9x12 inches.
Published by Hal Leonard.
(score (based on new complete edition)). By Ludwig van Beethoven (1770-1827). Ed...(+)
(score (based on new
complete edition)). By
Ludwig van Beethoven
(1770-1827). Edited by
Klaus Kropfinger. For
orchestra. Breitkopf Full
Scores. Score, Urtext. 48
pages
Composed by Franz Liszt (1811-1886). Duet or Duo; Masterworks; Piano Duet (1 Pia...(+)
Composed by Franz Liszt
(1811-1886). Duet or Duo;
Masterworks; Piano Duet
(1 Piano, 4 Hands); Solo
Small Ensembles. Kalmus
Edition. Masterwork;
Romantic. Book. 136
pages. Kalmus Classic
Edition #00-K02187.
Published by Kalmus
Classic Edition
(based on the new complete edition). Composed by Ludwig van Beethoven (1770-1827...(+)
(based on the new
complete edition).
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Klaus
Kropfinger. For
orchestra. This edition:
wind parts.
Orchester-Bibliothek
(Orchestral Library).
Wind set. 36 pages.
Published by Breitkopf
and Haertel