In Summer Orchestre [Conducteur] University Of York Music Press
Orchestra SKU: BT.MUSM570207725 Composed by Jo Kondo. Classical. Score On...(+)
Orchestra
SKU:
BT.MUSM570207725
Composed by Jo Kondo.
Classical. Score Only.
104 pages. University of
York Music Press
#MUSM570207725. Published
by University of York
Music Press
(BT.MUSM570207725).
English.
For
Orchestra (triple winds).
Published 2004.
Commissioned by Suntory
Music Foundation, Tokyo.
First performance: Jo
Kondo Portrait Concert,
Suntory Hall, Tokyo,
Japan, 7th October 2004,
Tokyo Metropolitan
Symphony Orchestra, Paul
Zukofsyofsy (cond).
Piano SKU: BT.MUSM570204342 Composed by Jo Kondo. Classical. Book Only. 6...(+)
Piano
SKU:
BT.MUSM570204342
Composed by Jo Kondo.
Classical. Book Only. 6
pages. University of York
Music Press
#MUSM570204342. Published
by University of York
Music Press
(BT.MUSM570204342).
English.
Publish
ed 1998. Commissioned by
Satoko Inoue. First
performance: Tokyo, 1999,
Satoko Inoue.
Guitar Solo SKU: YM.GTL01101984 Studio Ghibli, Anime. Score. Yamaha Music...(+)
Guitar Solo
SKU:
YM.GTL01101984
Studio
Ghibli, Anime. Score.
Yamaha Music Media
#GTL01101984. Published
by Yamaha Music Media
(YM.GTL01101984).
ISBN
9784636116366. 12 x 9
inches.
This book
is a collection of sheet
music for solo guitar
performances of Music of
Studio Ghibli Films.A
total of 26 popular songs
from Studio Ghibli films,
including âMy
Neighbour Totoro,â
âPrincess
Mononokeâ and
âHowl's Moving
Castle,â in both
musical notation and
tablature. Each song is
beautifully and
tastefully arranged for
solo guitar, both melody
and accompaniment played
by one person. Some of
the songs are a little
difficult to arrange, but
we are sure that you will
have fun with them!
High Voice and Piano SKU: BT.MUSM570208562 Composed by Sadie Harrison. Cl...(+)
High Voice and Piano
SKU:
BT.MUSM570208562
Composed by Sadie
Harrison. Classical.
Vocal Score. University
of York Music Press
#MUSM570208562. Published
by University of York
Music Press
(BT.MUSM570208562).
English.
Winner
of the Edvard Grieg
Memorial Competition for
Composers 2005.
SATB choir and Ensemble SKU: BT.MUSM570363612 Composed by James Weeks. Sc...(+)
SATB choir and Ensemble
SKU:
BT.MUSM570363612
Composed by James Weeks.
Score Only. 4 pages.
University of York Music
Press #MUSM570363612.
Published by University
of York Music Press
(BT.MUSM570363612).
English.
Commiss
ioned by the New London
Chamber Choir and
Spitalfields Music, and
first performed by the
New London Chamber Choir
and the London
Sinfonietta, conducted by
the composer, at the
Spitalfields Music Summer
Festival, Shoreditch
Church, London, on 13th
June 2011. Text by
Gerrard Winstanley,
Ensemble consists of:
Clarinet in Bb Alto
Saxophone (doubling
Soprano Saxophone) Tenor
Saxophone Bass Clarinet
Violin Viola Double Bass
Amplified Guitar Piano
 .
Violin and Percussion SKU: BT.MUSM570204281 Composed by Jo Kondo. Classic...(+)
Violin and Percussion
SKU:
BT.MUSM570204281
Composed by Jo Kondo.
Classical. Set of Parts.
52 pages. University of
York Music Press
#MUSM570204281. Published
by University of York
Music Press
(BT.MUSM570204281).
English.
For
Violin and optional
Percussion accompaniment.
Published 1995.
Commissioned by Kusatsu
International Summer
Music Festival (Japan).
First performance:
Kusatsu, 1995, Mitsuko
Ishii (vln), Eiso
Shigemitsu (perc). Two
performance scores
provided.
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F).
ISBN
9781491131725. UPC:
680160680252.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band
SKU:
PR.16500104F
Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F).
ISBN
9781491132159. UPC:
680160681082.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
SKU: HL.48182235 Composed by Henri Tomasi. Leduc. Classical. Alphonse Led...(+)
SKU: HL.48182235
Composed by Henri Tomasi.
Leduc. Classical.
Alphonse Leduc #AL23291.
Published by Alphonse
Leduc (HL.48182235).
UPC: 888680908676.
0.211
inches.
French
composer and conductor,
Henri Tomasi (1901-1971)
published Five Secular
and Sacred Dances for
Wind Quintet in 1963. As
with his other wind
compositions, Five
Secular and Sacred Dances
was well-received by
audiences. Tomasi was
born in Marseille, but
his Father and Mother
were originally from La
Casinca in Corsica.
Despite being pressured
into musical studies by
his parents, Tomasi
dreamed of becoming a
sailor, and during the
summer, he stayed with
his Grandmother in
Corsica where he learnt
traditional Corsican
songs. However, in 1921,
he began his studies at
the Paris Conservatoire
and went on to become a
high profile composer and
conductor. Tomasi did not
forget his Corsican
routes, often
incorporating themes of
the songs he had learnt
during the summers with
his Grandmother in to his
compositions. Five
Secular and Sacred Dances
is a reduction
arrangement of his work
of the same name for
Chamber Orchestra.
Comprising five
movements; 1) Rural
Dance, 2) Secular Dance,
3) Sacred Dances, 4)
Bridal Dance, and 5)
Warrior Dances, Five
Secular and Sacred Dances
is one of three Wind
Quintets by the composer.
This Tomasi piece is
suitable to an advanced
Wind Quintet, providing
an exciting alternative
addition to the ensemble
repertoire..
Composed by Greg Bartholomew. For "trumpet, timpani & string orches...(+)
Composed by Greg
Bartholomew.
For "trumpet,
timpani & string
orchestra". Pathways
Series.
Level 4. Score and set of
parts. Duration "3
minutes, 40
seconds". Published
by Imagine
Music
Composed by Greg Bartholomew. For "trumpet, percussion & string orc...(+)
Composed by Greg
Bartholomew.
For "trumpet,
percussion &
string orchestra".
Pathways
Series. Level 4. Score
and set
of parts. Duration
"3 minutes,
40 seconds".
Published by
Imagine Music
Composed
by Various. Music Sales
America. Danish. Book and
CD. 48 pages. Edition
Wilhelm Hansen #WH30653.
Published by Edition
Wilhelm Hansen
(HL.14033985).
ISBN
9788759812044.
International (more than
one language).
Here
are sixteen all-time
favourite Danish songs,
including several written
by the great Hans
Christian Anderson
himself. With lyrics in
Danish and English, as
well as musical
arrangements of for Voice
and Guitar/Piano, this is
a unique celebration of
Denmark's musical
traditions and love of
communal singing. Each
song is beautifully
performed on the
accompanying CD and this
bi-centennial edition of
this fabulous volume has
been illustrated by
British artist Paul Cox.
From lyrical songs and
anthems to folk themes
and the popular I'm Hans
Christian Anderson, this
is a unique portrait of a
nation with a time
honoured love of
singing.
Classical Guitar SKU: HL.14042805 Composed by Ed Hughes. Music Sales Amer...(+)
Classical Guitar
SKU:
HL.14042805
Composed
by Ed Hughes. Music Sales
America. Softcover.
University of York Music
Press #M570364688.
Published by University
of York Music Press
(HL.14042805).
Summer Light
for solo guitar (2012) is
in three short
contrasting movements.
There are references to
plainchant in the first
piece. The final piece is
a toccata in which a
flexible approach to
tempo is encouraged. The
work was written for Paul
Norman and dedicated to
Jonathan Harvey. It was
commissioned by the Park
Lane Group Young Artists
Series for January 2013.
Listen to a recording of
the work here:
Summer Light
for solo guitar
(2012) is in three short
contrasting movements.
There are references to
plainchant in the first
piece.
The final
piece is a toccata in
which a flexible approach
to tempo is encouraged.
The work was written for
Paul Norman and dedicated
to Jonathan Harvey. It
was commissioned by the
Park Lane Group Young
Artists Series for
January
2013.
By
Various. Arranged by Mark
Phillips. Strum Together.
Folk, Folk/Rock, Pop.
Softcover. 144 pages.
Published by Hal Leonard
(HL.356773).
ISBN
9781705113066. UPC:
840126941944.
9.0x12.0x0.345
inches.
The Strum
Together series enables
players of five different
instruments – or
any combination of them
– to “strum
together†on 70
great songs. This
easy-to-use format
features melody, lyrics,
and chord diagrams for
five popular folk
instruments: standard
ukulele, baritone
ukulele, guitar,
mandolin, and banjo. A
great resource for
beginning stringed
instrument players who
are ready to experience
the fun of making music
together! This collection
includes 70 tunes perfect
for your next coffeehouse
gig: Across the Universe
• Alison •
Big Yellow Taxi •
The Boys of Summer
• Budapest •
Constant Craving •
Diamonds on the Inside
• Dust in the Wind
• Free Fallin'
• Give a Little Bit
• Good Riddance
(Time of Your Life)
• Hallelujah
• I Melt with You
• Iris •
Leaving on a Jet Plane
• Norwegian Wood
(This Bird Has Flown)
• The Scientist
• You're So Vain
• and more.
For Ukulele, Baritone
Ukulele, Guitar, Banjo &
Mandolin. Composed by
Various. Arranged by Mark
Phillips. Strum Together.
Classic Rock, Folk, Pop.
Softcover. 144 pages.
Published by Hal Leonard
(HL.1091718).
ISBN
9781705176030. UPC:
196288099345.
9.0x12.0x0.361
inches.
Learning to
play a musical instrument
is one of the most
satisfying experiences a
person can have. Being
able to play along with
other musicians makes
that even more rewarding!
The Strum Together series
enables players of five
different instruments
– or any
combination of them
– to “strum
together†on 70
fabulous songs. The music
for each song displays
the chord diagrams for
five instruments:
ukulele, baritone
ukulele, guitar, mandolin
and banjo. The chord
diagrams indicate basic,
commonly used finger
positions. More advanced
players can substitute
alternate chord
formations. This new
collection includes 70
sing-along classics: ABC
• All of Me •
Bad Moon Rising •
Bennie and the Jets
• Cat's in the
Cradle • Cecilia
• Dancing Queen
• Don't Stop
• Don't Stop
Believin' • From Me
to You • Hey, Soul
Sister • Hooked on
a Feeling • I Will
Wait • Iko Iko
• Learning to Fly
• Listen to the
Music • Lollipop
• Me and Bobby
McGee • One Love
• Shake It Off
• Stayin' Alive
• Sugar, Sugar
• Summer of '69
• Teenage Dream
• Thank God I'm a
Country Boy •
Waiting on the World to
Change • Yellow
Submarine • and
more.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Voice; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Set of parts. 1116 pages.
Duration 65'. Breitkopf
and Haertel #OB 5641-60.
Published by Breitkopf
and Haertel
(BR.OB-5641-60).
ISBN
9790004348833. 10.5 x 14
inches.
The Song of
the Earth, composed in
the summer of 1908, is
Mahler's best-known and
most personal work.
Reflecting drastic
changes in his life, its
immense emotional density
is very moving. Until the
very end, Mahler
continued to refine the
extremely differentiated
instrumentation, as is
evident in numerous
retouchings in the
autograph score and
engraver's model. It is
therefore all the more
regrettable that he was
neither able to perform
his Symphony in Songs
himself nor that he was
involved in its printing.
Unfortunately, in the
posthumously published
first edition of 1912 and
the subsequent editions
edited by Erwin Ratz and
Karl Heinz Fussl, many
questions remained
unanswered, while other
were answered in a
dubious way.The edition
is the first
text-critical one of the
work on a scientifically
sound basis. It offers
not only a more reliable
musical text, but also
systematically and
lucidly prepared
information on the
sources, their
transmission and
evaluation. All editorial
decisions have been
documented in a
transparently
comprehensible manner -
in particular those
leading to new audible
results. Work-related
notes on performance
practice, which for the
first time include
Mahler's conducting
indications, offer
valuable, indispensable
interpretive aids. In
addition to the regular
five clarinet parts, the
set of parts includes two
additional parts (3rd
clarinet/Eb clarinet,
bass clarinet/3rd
clarinet in places where
the latter plays Eb
clarinet) to allow
performances with only
four clarinets.The
completely revised piano
reduction reproduces the
orchestral texture true
to the score without
losing sight of
playability. Both
Mahler's piano autograph
and the piano reduction
by Woss, which was
commissioned by the
composer himself, served
as an inspiration for
this.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Voice; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Part. 20 pages. Duration
65'. Breitkopf and
Haertel #OB 5641-23.
Published by Breitkopf
and Haertel
(BR.OB-5641-23).
ISBN
9790004348819. 10.5 x 14
inches.
The Song of
the Earth, composed in
the summer of 1908, is
Mahler's best-known and
most personal work.
Reflecting drastic
changes in his life, its
immense emotional density
is very moving. Until the
very end, Mahler
continued to refine the
extremely differentiated
instrumentation, as is
evident in numerous
retouchings in the
autograph score and
engraver's model. It is
therefore all the more
regrettable that he was
neither able to perform
his Symphony in Songs
himself nor that he was
involved in its printing.
Unfortunately, in the
posthumously published
first edition of 1912 and
the subsequent editions
edited by Erwin Ratz and
Karl Heinz Fussl, many
questions remained
unanswered, while other
were answered in a
dubious way.The edition
is the first
text-critical one of the
work on a scientifically
sound basis. It offers
not only a more reliable
musical text, but also
systematically and
lucidly prepared
information on the
sources, their
transmission and
evaluation. All editorial
decisions have been
documented in a
transparently
comprehensible manner -
in particular those
leading to new audible
results. Work-related
notes on performance
practice, which for the
first time include
Mahler's conducting
indications, offer
valuable, indispensable
interpretive aids. In
addition to the regular
five clarinet parts, the
set of parts includes two
additional parts (3rd
clarinet/Eb clarinet,
bass clarinet/3rd
clarinet in places where
the latter plays Eb
clarinet) to allow
performances with only
four clarinets.The
completely revised piano
reduction reproduces the
orchestral texture true
to the score without
losing sight of
playability. Both
Mahler's piano autograph
and the piano reduction
by Woss, which was
commissioned by the
composer himself, served
as an inspiration for
this.
Composed
by Gustav Mahler. Edited
by Christian Rudolf
Riedel. Voice; Linen.
Partitur-Bibliothek
(Score Library).
Symphony; Late-romantic.
Full score. 196 pages.
Duration 65'. Breitkopf
and Haertel #PB 5671.
Published by Breitkopf
and Haertel (BR.PB-5671).
ISBN 9790004216088.
10.5 x 14
inches.
The Song of
the Earth, composed in
the summer of 1908, is
Mahler's best-known and
most personal work.
Reflecting drastic
changes in his life, its
immense emotional density
is very moving. Until the
very end, Mahler
continued to refine the
extremely differentiated
instrumentation, as is
evident in numerous
retouchings in the
autograph score and
engraver's model. It is
therefore all the more
regrettable that he was
neither able to perform
his Symphony in Songs
himself nor that he was
involved in its printing.
Unfortunately, in the
posthumously published
first edition of 1912 and
the subsequent editions
edited by Erwin Ratz and
Karl Heinz Fussl, many
questions remained
unanswered, while other
were answered in a
dubious way.The edition
is the first
text-critical one of the
work on a scientifically
sound basis. It offers
not only a more reliable
musical text, but also
systematically and
lucidly prepared
information on the
sources, their
transmission and
evaluation. All editorial
decisions have been
documented in a
transparently
comprehensible manner -
in particular those
leading to new audible
results. Work-related
notes on performance
practice, which for the
first time include
Mahler's conducting
indications, offer
valuable, indispensable
interpretive aids. In
addition to the regular
five clarinet parts, the
set of parts includes two
additional parts (3rd
clarinet/Eb clarinet,
bass clarinet/3rd
clarinet in places where
the latter plays Eb
clarinet) to allow
performances with only
four clarinets.The
completely revised piano
reduction reproduces the
orchestral texture true
to the score without
losing sight of
playability. Both
Mahler's piano autograph
and the piano reduction
by Woss, which was
commissioned by the
composer himself, served
as an inspiration for
this.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Voice; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Part. 20 pages. Duration
65'. Breitkopf and
Haertel #OB 5641-16.
Published by Breitkopf
and Haertel
(BR.OB-5641-16).
ISBN
9790004348796. 10.5 x 14
inches.
The Song of
the Earth, composed in
the summer of 1908, is
Mahler's best-known and
most personal work.
Reflecting drastic
changes in his life, its
immense emotional density
is very moving. Until the
very end, Mahler
continued to refine the
extremely differentiated
instrumentation, as is
evident in numerous
retouchings in the
autograph score and
engraver's model. It is
therefore all the more
regrettable that he was
neither able to perform
his Symphony in Songs
himself nor that he was
involved in its printing.
Unfortunately, in the
posthumously published
first edition of 1912 and
the subsequent editions
edited by Erwin Ratz and
Karl Heinz Fussl, many
questions remained
unanswered, while other
were answered in a
dubious way.The edition
is the first
text-critical one of the
work on a scientifically
sound basis. It offers
not only a more reliable
musical text, but also
systematically and
lucidly prepared
information on the
sources, their
transmission and
evaluation. All editorial
decisions have been
documented in a
transparently
comprehensible manner -
in particular those
leading to new audible
results. Work-related
notes on performance
practice, which for the
first time include
Mahler's conducting
indications, offer
valuable, indispensable
interpretive aids. In
addition to the regular
five clarinet parts, the
set of parts includes two
additional parts (3rd
clarinet/Eb clarinet,
bass clarinet/3rd
clarinet in places where
the latter plays Eb
clarinet) to allow
performances with only
four clarinets.The
completely revised piano
reduction reproduces the
orchestral texture true
to the score without
losing sight of
playability. Both
Mahler's piano autograph
and the piano reduction
by Woss, which was
commissioned by the
composer himself, served
as an inspiration for
this.