Piano - Easy-Intermediate SKU: YM.GTP01098166 Keyboard. Arranged Classic....(+)
Piano - Easy-Intermediate
SKU:
YM.GTP01098166
Keyboard. Arranged
Classic. Score. Yamaha
Music Media #GTP01098166.
Published by Yamaha Music
Media (YM.GTP01098166).
ISBN
9784636981667.
Ther
e are many music sheet
books available for
children, but not many
for adults who have just
started playing the
piano. The Otona Piano
series is designed for
those adults who are
beginner piano players.
Here is a great
piano collection for
those who want to take
their piano playing to
the next level! It is
also a great selection
for live
performances!
Piano Solo SKU: YM.GTP01100090 Very Easy Classics arranged for Adults<...(+)
Piano Solo
SKU:
YM.GTP01100090
Very Easy Classics
arranged for Adults.
Composed by Various.
Otona Piano Series.
Arranged Classical Music,
Educational, Exercise,
Lesson. Score. Yamaha
Music Media #GTP01100090.
Published by Yamaha Music
Media (YM.GTP01100090).
ISBN 9784636100655.
8.5 x 12
inches.
Easy
arrangements for adults
to start playing the
piano for the first time.
Features large,
easy-to-read music
sheets.
Composed by Ludwig van Beethoven (1770-1827). Edited by Jens Dufner. For Orchest...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Jens Dufner.
For Orchestra (Study
Score). Henle Study
Scores. Softcover. 119
pages. G. Henle #HN9816.
Published by G. Henle
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Piano/harpsichord and orchestra (solo: pno - 1.2.2.2. - 2.2.0.0. - timp - str) <...(+)
Piano/harpsichord and
orchestra (solo: pno -
1.2.2.2. - 2.2.0.0. -
timp - str)
SKU:
BR.PB-14620
Urtext
based on the new Complete
Edition (G. Henle
Verlag). Composed by
Ludwig van Beethoven.
Edited by Hans-werner
Kuthen. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
Solo
concerto; Classical. Full
score. 96 pages. Duration
34'. Breitkopf and
Haertel #PB 14620.
Published by Breitkopf
and Haertel
(BR.PB-14620).
ISBN
9790004211038. 10 x 12.5
inches.
Ludwig van
Beethoven wrote his Piano
Concerto no. 4 in 1805,
thus contemporaneously
with the opera Fidelio
and the Symphonies nos. 5
and 6. The first
performance took place on
22 December 1808 at the
now legendary academy
(subscription concert) in
which Beethoven presented
the two new symphonies
and the Choral Fantasy
op. 80 to the Viennese
public for the first
time. The work was first
published that year by
Breitkopf & Hartel. The
autograph of the score is
no longer extant. The
principal source of the
musical text on which the
present edition is based
is a scribal copy
examined and corrected by
Beethoven.
Two Pianos SKU: SU.92102085 For two Pianos. Composed by Jerome Mor...(+)
Two Pianos
SKU:
SU.92102085
For
two Pianos. Composed
by Jerome Moross.
Keyboard, Piano
4-hands/2+ Pianos. Score
& Parts. Subito Music
Corporation #92102085.
Published by Subito Music
Corporation
(SU.92102085).
Two Pianos
Duration: 6' Transcribed
by the composer
Performing Materials: 2
scores Composed: 1941
Published by: Sorom
Editions.
Score Orchestra SKU: HL.14032248 Composed by Aulis Sallinen. Music Sales ...(+)
Score Orchestra
SKU:
HL.14032248
Composed
by Aulis Sallinen. Music
Sales America. Classical.
Book [Softcover]. 150
pages. Edition Wilhelm
Hansen #NOV890171.
Published by Edition
Wilhelm Hansen
(HL.14032248).
ISBN
9780853605331.
8.25x11.75x0.505
inches.
Aulis
Sallinen was born in 1935
in Salmi on the northern
shore of Lake Ladoga
(which the Soviet Union
claimed in 1944). His
early musical experience
was playing the violin.
Improvising (including
jazz) on the piano led
him to write his first
compositions as a
teenager. After studying
with Aarre Merikanto and
Joonas Kokkonen at the
Sibelius Academy, he
joined the staff there.
He was Administrator of
the Finnish Radio
Symphony Orchestra
(1960-69); Secretary and
member of the Board
(1958-73), then Chairman
(1971-73) of the Finnish
Composers' Society;
member of the board of
TEOSTO (Finnish copyright
society) from 1970-84,
then Chairman from
1988-90; he also served
for several years on the
Board of the Finnish
National Opera. Here is
the Facsimile of the
Sixth Symphony that was
composed over 1989-1990,
and commissioned and
first performed by the
New Zealand Symphony
Orchestra.
Scherzo From Symphony No. 6 Quintette à Vent [Conducteur et Parties séparées] - Intermédiaire/avancé Kendor Music Inc.
By Bourgault. For woodwind quintet (flute, oboe, Bb clarinet, Horn in F, bassoon...(+)
By Bourgault. For
woodwind quintet (flute,
oboe, Bb clarinet, Horn
in F, bassoon (optional
Bb bass clarinet)). Grade
5. Score and set of
parts. Duration 3
minutes. Published by
Kendor Music Inc
Piano solo SKU: HH.HH490-SOL Composed by Franz Joseph Haydn. Edited by Sa...(+)
Piano solo
SKU:
HH.HH490-SOL
Composed
by Franz Joseph Haydn.
Edited by Sarah Jenner.
Arranged by C.D.
Stegmann. Playing score.
Edition HH Music
Publishers #HH490-SOL.
Published by Edition HH
Music Publishers
(HH.HH490-SOL).
ISBN
9781910359815.
Hayd
n’s Symphony No.
85, ‘La Reine de
France’, belongs
to the set of six
‘Paris’
Symphonies, Nos.
82–7, composed in
1785–6 to a
commission by the
directors of
the Concert de la Loge
Olympique at the
instigation of the Comte
d’Ogny and were
first performed by that
society during the 1787
season. The soubriquet
‘La Reine’
was attached to the work
soon after its first
performance (and was
included in the first
edition of printed parts)
reflecting its status as
a favourite work of Marie
Antoinette.
Eulenburg Audio Score Series. By Peter Ilyich Tchaikovsky. This edition: EAS137....(+)
Eulenburg Audio Score
Series. By Peter Ilyich
Tchaikovsky. This
edition: EAS137.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 238
pages. Published by
Eulenburg.
By Charles Marie Widor (1844-1937). Arranged by David Marlatt. For 6 Trumpets an...(+)
By Charles Marie Widor
(1844-1937). Arranged by
David Marlatt. For 6
Trumpets and Organ. Brass
- Large Cornet (Trumpet)
Ensemble; Masterworks;
Part(s); Score. Eighth
Note Publications.
Masterwork Arrangement;
Romantic. 20 pages.
Published by Eighth Note
Publications
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.
Composed by Charles Marie Widor (1844-1937). Edited by Daniel Mitterdorfer and...(+)
Composed by Charles Marie
Widor (1844-1937). Edited
by
Daniel Mitterdorfer and
Harold Fabrikant.
Classical.
Score. Crescendo Music
Publications
#9790-902257022.
Published by Crescendo
Music
Publications
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
Romantic. Composed by Howard Hanson (1896-1981). World Premiere, Critical Editio...(+)
Romantic. Composed by
Howard Hanson
(1896-1981). World
Premiere, Critical
Edition May 6, 1999 The
Philadelphia Orchestra
Wolfgang Sawallisch
Conducting. Classical.
Full score (study). With
Standard notation. Opus
30. 104 pages. Duration
28 minutes. Carl Fischer
#SC00042. Published by
Carl Fischer
(Eulenburg Audio Score
Series, Vol. 65). By
Frederic Chopin
(1810-1849). Edited by
Michael Stegemann. Study
Score. Study Score.
Softcover with CD. 102
pages. Hal Leonard
#EAS165. Published by Hal
Leonard
(Eulenburg Audio Score
Series, Vol. 66). By
Frederic Chopin
(1810-1849). Edited by
Michael Stegemann. Study
Score. Study Score.
Softcover with CD. 36
pages. Hal Leonard
#EAS166. Published by Hal
Leonard
Composed by Peter Ilyich Tchaikovsky (1840-1893). For piano. Masterworks; Piano ...(+)
Composed by Peter Ilyich
Tchaikovsky (1840-1893).
For piano. Masterworks;
Piano Collection. Dover
Edition. Masterwork;
Romantic. Score
reduction. 192 pages.
Published by Dover
Publications
Score Orchestra SKU: HL.14028658 Composed by Aulis Sallinen. Music Sales ...(+)
Score Orchestra
SKU:
HL.14028658
Composed
by Aulis Sallinen. Music
Sales America. 20th
Century. Book
[Softcover]. 112 pages.
Edition Wilhelm Hansen
#NOV890195. Published by
Edition Wilhelm Hansen
(HL.14028658).
ISBN
9780853609292.
8.25x11.75x0.333
inches.
Aulis
Sallinen's Symphony No.7
is related to J.R.R.
Tolkien's great novel The
Lord of the Rings. The
symphony does not
actually depict the
events in the novel;
rather it is a musical
expression of the
literary atmosphere and
poetry. The symphony was
commissioned by the
Gothenburg Symphony
Orchestra and composed in
1995-6. Orchestration: 3
Flutes, 3 Oboes, 3
Clarinets in B flat, 3
Bassoons, 4 Horns in F, 4
Trumpets in B flat, 3
Trombones, Tuba, Timpani,
Percussion, Celesta,
Harp, Strings. The
duration of the work is
25 minutes, full score
and orchestral material
is available for
hire.