For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
By Mark Williams. For Concert Band. Concert Band. Accent on Achievement. (1:50)....(+)
By Mark Williams. For
Concert Band. Concert
Band. Accent on
Achievement. (1:50).
Level: 1 (Very Easy)
(grade 1). Conductor
Score and Parts. 124
pages. Published by
Alfred Publishing.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-79.
Published by Breitkopf
and Haertel
(BR.OB-5555-79).
ISBN
9790004342510. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Choral SAB choir, piano SKU: CF.CM9730 Composed by Andrew Steffen. 16 pag...(+)
Choral SAB choir, piano
SKU: CF.CM9730
Composed by Andrew
Steffen. 16 pages.
Duration 2 minutes, 48
seconds. Carl Fischer
Music #CM9730. Published
by Carl Fischer Music
(CF.CM9730).
ISBN
9781491161098. UPC:
680160919697. Key: E
lydian. English. The
Vastness of the Universe
Jonas Hallgrimsson
(1807-1845).
About
Jonas Halgrimsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him. The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
illicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven.... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.
https://digicoll.library.
wisc.edu/Jonas/Alheim/Alh
eim.html A good friend
asked if I would write a
song for her ensemble.
The parameters were that
it had to be three-part
with a limited range in
the Bass part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson's writings.
There is such a need for
three-part music that is
both exciting,
accessible, and
challenging. Director's
Note Truly consider how
the work can come to
'life' off the page. Rise
and fall with phrase and
sometimes each note. The
magic exists beyond the
ink on the page!
Consideration to range,
tessitura, and content
was all considered as
part of this process in
creating music that is
accessible to all
programs and ensembles
Accompaniment Note The
accompaniment can look
intimidating, but please
feel free to alter the
pulsing eighth notes in
the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. AboutJónas
HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
illicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven.... Â The pure
and almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.  Â
https://digicoll.library.
wisc.edu/Jonas/Alheim/Alh
eim.htmlA good friend
asked if I would write a
song for her
ensemble. The
parameters were that it
had to be three-part with
a limited range in the
Bass part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings.  There
is such a need for
three-part music that is
both exciting,
accessible, and
challenging. Director
€™s NoteTruly
consider how the work can
come to
‘life’ off
the page. Rise and
fall with phrase and
sometimes each note.Â
The magic exists beyond
the ink on the
page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensemblesAccompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work justice.
Urtext. Composed
by Bela Bartok. Edited by
hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-17.
Published by Breitkopf
and Haertel
(BR.OB-5555-17).
ISBN
9790004342411. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-19.
Published by Breitkopf
and Haertel
(BR.OB-5555-19).
ISBN
9790004342435. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Piano (str. (1. group:
vl/II.vaI.vcI.dbI - 2.
group:
vIIl/IV.vaII.vcII.dbII) -
small
drum.cym.tam-tam.big
drum.xyl.timp -
cel.hp.pno)
SKU:
BR.OB-5555-12
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 20 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-12.
Published by Breitkopf
and Haertel
(BR.OB-5555-12).
ISBN
9790004342381. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-15.
Published by Breitkopf
and Haertel
(BR.OB-5555-15).
ISBN
9790004342398. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Composed by
Kyle Pederson. Jbc. 8
pages. Duration 3
minutes, 41 seconds. Carl
Fischer Music #CM9722.
Published by Carl Fischer
Music (CF.CM9722).
ISBN 9781491161012.
UPC: 680160919611. Key: C
major. English. Kyle
Pederson.
Original.
Stars was
born out of a life-long
fascination with the
night sky, and the text
is a meditation on the
interconnectedness of
creation. The light from
distant stars takes eons
to reach our eyes,
connecting us with an
ancient past. Many
elements that comprise
our bodies were cast out
of stars million years
ago. Since we are the
stuff of stars, where
will we cast our own
light? Whose world will
we impact? Harmonically,
the piece seeks to evoke
the vastness and mystery
of space, simultaneously
capturing the intimacy of
connection. Stars
Legacies of light Ages
ago, you spun light into
the bleak Ancient light
falls on my eye And I? A
star sacred stellar dust
casting light out through
time In whose sky will my
light fall?
 . Stars was born
out of a life-long
fascination with the
night sky, and the text
is a meditation on the
interconnectedness of
creation. The light
from distant stars takes
eons to reach our eyes,
connecting us with an
ancient past. Many
elements that comprise
our bodies were cast out
of stars million years
ago. Since we are the
stuff of stars, where
will we cast our own
light? Whose world will
we impact?Harmonically,
the piece seeks to evoke
the vastness and mystery
of space, simultaneously
capturing the intimacy of
connection.StarsLegacies
of lightAges ago, you
spun light into the
bleakAncient light falls
on my eyeAnd I?A
starsacred stellar
dustcasting light out
through timeIn whose sky
will my light fall?
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-24.
Published by Breitkopf
and Haertel
(BR.OB-5555-24).
ISBN
9790004342466. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
Folder.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Set of parts. 32
pages. Duration 26'.
Breitkopf and Haertel #OB
5555-30. Published by
Breitkopf and Haertel
(BR.OB-5555-30).
ISBN
9790004342497. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Harp (str. (1. group:
vl/II.vaI.vcI.dbI - 2.
group:
vIIl/IV.vaII.vcII.dbII) -
small
drum.cym.tam-tam.big
drum.xyl.timp -
cel.hp.pno)
SKU:
BR.OB-5555-75
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 12 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-75.
Published by Breitkopf
and Haertel
(BR.OB-5555-75).
ISBN
9790004342503. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
By William Bay. For Ukulele (Soprano). method. You Can Teach Yourself. All Style...(+)
By William Bay. For
Ukulele (Soprano).
method. You Can Teach
Yourself. All Styles.
Level: Beginning. Book
DVD. Size 8.75x11.75. 96
pages. Published by Mel
Bay Publications, Inc.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-18.
Published by Breitkopf
and Haertel
(BR.OB-5555-18).
ISBN
9790004342428. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-20.
Published by Breitkopf
and Haertel
(BR.OB-5555-20).
ISBN
9790004342442. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 12 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-27.
Published by Breitkopf
and Haertel
(BR.OB-5555-27).
ISBN
9790004342473. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-16.
Published by Breitkopf
and Haertel
(BR.OB-5555-16).
ISBN
9790004342404. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 12 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-28.
Published by Breitkopf
and Haertel
(BR.OB-5555-28).
ISBN
9790004342480. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Urtext. Composed
by Bela Bartok. Edited by
Hartmut Fladt. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
One of the greatest
masterworks of the 20th
century! It has lost
nothing of its
fascination to this
day.
Symphony; Early
modern. Part. 16 pages.
Duration 26'. Breitkopf
and Haertel #OB 5555-23.
Published by Breitkopf
and Haertel
(BR.OB-5555-23).
ISBN
9790004342459. 10 x 12.5
inches.
In 1936
Bela Bartok was
commissioned by his Swiss
patron Paul Sacher to
write the Music for
Stringed Instruments,
Percussion and Celesta.
What Bartok created was
nothing less than one of
the greatest masterworks
of the 20th century that
beguiles the listener
through its
extraordinarily refined
construction and lushly
expressive rhythms and
melodies.Also remarkable
is that Bartok jotted
down the four-movement
orchestral work very
rapidly and without a
short score. Breitkopf's
new edition is based on
the autograph, on the
first editions of the
conducting and pocket
score, and in particular
on the composer's
personal copy of the
pocket score, in which
Bartok later entered the
corrections that he had
discovered - alterations
that were taken into
consideration for the
first time in this new
edition.
One of
the greatest masterworks
of the 20th century! It
has lost nothing of its
fascination to this
day.
Music of the Spheres Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-028-140
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2005. 68
pages. Anglo Music Press
#AMP 028-140. Published
by Anglo Music Press
(BT.AMP-028-140).
English-German-French-
Dutch.
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Dieses
Werk handelt vom Weltall
und unserem Platz im
Universum, auf dem
Weltbild von Pythagoras
basierend. Am einfachsten
lässt sich diese
außergewöhnliche
Komposition wohl als
Filmmusik ähnliches
Stück beschreiben ?
Musik zu einem
Science-Fiction-Film
eines Ripley Scott oder
Steven Spielberg oder
auch Musik, wie sie ein
John Williams oder Danny
Elfman schreiben
würde: absolut
stimmungsvoll, brillant
instrumentiert mit
Klangfarben, Strukturen,
Effekten und Timbres,
gemischt mit
fließenden
musikalischen Linien, die
die Substanz des Themas
auf den Punkt treffen.
Dieses atemberaubende
neue Stück hebt Ihr
Blasorchester auf ein
höheres Niveau, sowohl
im technischen als
auchmusikalischen Sinn.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione?
Music of the Spheres Ensemble de cuivres [Conducteur] - Intermédiaire/avancé Anglo Music
Brass Band - Grade 6 SKU: BT.AMP-028-130 Composed by Philip Sparke. Elite...(+)
Brass Band - Grade 6
SKU:
BT.AMP-028-130
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2003.
Anglo Music Press #AMP
028-130. Published by
Anglo Music Press
(BT.AMP-028-130).
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Mit
diesem großartigen
Werk, das dem
Auftraggeber der
Yorkshire Building
Society Band am
Europäischen Brass
Band Wettbewerb 2004 in
Glasgow als
Selbstwahlstück zu
einem weiteren Titel
verhalf, beweist Philip
Sparke einmal mehr seine
außergewöhnlichen
kompositorischen
Fähigkeiten. Dieses
Werk über die
Ursprünge des
Universums führt uns
vom Urknall, vorbei an
einsamen Planeten,
Asteroiden und
Sternschnuppen
schließlich ins
Unbekannte - die
ungewisse Zukunft. Ein
Glanzstück und eine
echte Herausforderung
für jeden
Spitzen-Brass
Band!
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione?
Chamber Music Cello,
Piano, Viola, Violin,
Violin 1, Violin 2
SKU: PR.14440757S
Composed by Ellen Taaffe
Zwilich. Full score. 64
pages. Duration 24
minutes. Merion Music
#144-40757S. Published by
Merion Music
(PR.14440757S).
ISBN
9781491136539. UPC:
680160689347.
Ellen
Taaffe Zwilich’s
Septet is the first major
work written for this
combination of
instruments, and the
pioneering process was
greatly enjoyed by the
composer: “While
the instrumentation of
the Septet provides an
almost orchestral
palette, and it was
interesting to explore
that, I love the idea of
seven artist-performers,
each of whom can be a
stunning virtuoso one
moment and a thoughtful
partner the next, and I
relish the electricity
that results from those
shifting roles.â€
Septet was written for
the
Kalichstein-Laredo-Robins
on Trio and the Miami
String Quartet, to whom
it is dedicated. String
parts available on
rental. For advanced
ensembles. Duration:
24’. Writing
music is a labor of love
for me. My greatest
joy is writing for
performers whom I can be
sure will not only
deliver the notes
accurately, but will
project the meaning
behind the notes. To
have performers in the
wings who will bring
their own imagination and
deep understanding to a
performance is an
inspiration to me. So
I approached the writing
of my Septet for the
Kalichstein-Laredo-Robins
on Trio and the Miami
String Quartet with great
anticipation and
pleasure.The fact that
there is no model for
such a Septet made the
pre-composition process a
most enjoyable
exploration. I liked
the idea of having two
strong ensemble
personalities in the mix,
and I thought that there
must be some sort of
challenging interchange
at the outset. The
first movement,
“Introductions,â
(note the plural)
starts with the piano
trio throwing down the
gauntlet and the string
quartet entering quietly,
but gradually (almost one
by one) joining with the
trio to make a true
septet with multi-faceted
relations. The second
movement, “Quasi
una Passacaglia,â€
is based on a repeated
phrase pattern. Part
of the formal design is a
contrast between
“Baroqueâ€
style performance and
modern, more romantic
ways of playing.Â
“Games,†the
third movement, involves
much playful interplay
and the fourth movement,
“Au revoir,â€
offers both reminiscence
and farewell – not
“good-bye,â€
but “until we meet
again.â€Throughout
the piece, two of my
persistent fascinations
are explored: firstly, my
interest in designing
initial material that can
evolve into large-scale
form, and secondly, the
pleasure I take in
chamber music. While
the instrumentation of
the Septet provides an
almost orchestral palette
and it was interesting to
explore that, I love the
idea of 7
artist-performers, each
of whom can be a stunning
virtuoso one moment and a
thoughtful partner the
next, and I relish the
electricity that results
form those shifting
roles.
Chamber Music Cello,
Piano, Viola, Violin,
Violin 1, Violin 2
SKU: PR.144407570
Composed by Ellen Taaffe
Zwilich. Set of Score and
Parts.
64+12+12+12+12+12+12
pages. Duration 24
minutes. Merion Music
#144-40757. Published by
Merion Music
(PR.144407570).
ISBN
9781491136522. UPC:
680160689330.
Ellen
Taaffe Zwilich’s
Septet is the first major
work written for this
combination of
instruments, and the
pioneering process was
greatly enjoyed by the
composer: “While
the instrumentation of
the Septet provides an
almost orchestral
palette, and it was
interesting to explore
that, I love the idea of
seven artist-performers,
each of whom can be a
stunning virtuoso one
moment and a thoughtful
partner the next, and I
relish the electricity
that results from those
shifting roles.â€
Septet was written for
the
Kalichstein-Laredo-Robins
on Trio and the Miami
String Quartet, to whom
it is dedicated. String
parts available on
rental. For advanced
ensembles. Duration:
24’. Writing
music is a labor of love
for me. My greatest
joy is writing for
performers whom I can be
sure will not only
deliver the notes
accurately, but will
project the meaning
behind the notes. To
have performers in the
wings who will bring
their own imagination and
deep understanding to a
performance is an
inspiration to me. So
I approached the writing
of my Septet for the
Kalichstein-Laredo-Robins
on Trio and the Miami
String Quartet with great
anticipation and
pleasure.The fact that
there is no model for
such a Septet made the
pre-composition process a
most enjoyable
exploration. I liked
the idea of having two
strong ensemble
personalities in the mix,
and I thought that there
must be some sort of
challenging interchange
at the outset. The
first movement,
“Introductions,â
(note the plural)
starts with the piano
trio throwing down the
gauntlet and the string
quartet entering quietly,
but gradually (almost one
by one) joining with the
trio to make a true
septet with multi-faceted
relations. The second
movement, “Quasi
una Passacaglia,â€
is based on a repeated
phrase pattern. Part
of the formal design is a
contrast between
“Baroqueâ€
style performance and
modern, more romantic
ways of playing.Â
“Games,†the
third movement, involves
much playful interplay
and the fourth movement,
“Au revoir,â€
offers both reminiscence
and farewell – not
“good-bye,â€
but “until we meet
again.â€Throughout
the piece, two of my
persistent fascinations
are explored: firstly, my
interest in designing
initial material that can
evolve into large-scale
form, and secondly, the
pleasure I take in
chamber music. While
the instrumentation of
the Septet provides an
almost orchestral palette
and it was interesting to
explore that, I love the
idea of 7
artist-performers, each
of whom can be a stunning
virtuoso one moment and a
thoughtful partner the
next, and I relish the
electricity that results
form those shifting
roles.
Set of Parts Flute; Piccolo - easy SKU: HL.49010552 Three Little Piece...(+)
Set of Parts Flute;
Piccolo - easy
SKU:
HL.49010552
Three
Little Pieces for Eight
Flutes. Composed by
Wilfried Hiller. This
edition: Saddle
stitching. Sheet music.
Il Flauto Traverso (Flute
Library). Classical. Set
of Parts. Composed 1990.
38 pages. Duration 7'.
Schott Music #FTR158.
Published by Schott Music
(HL.49010552).
ISBN
9790001094542. UPC:
884088414221.
9.25x12.0x0.144
inches.
Already as
a child, says Wilfried
Hiller, he was fascinated
by the music of The Magic
Flute, particulary by
Tamino's flute songs and
Papageno's glockenspiel
music. This lifelong
fascination induced the
composer to compose three
little dances for the
tonally charming
instrumentation with
eight flutes. The result
are affectionate
miniatures on themes from
The Magic Flute which are
a treat even for little
up-and-coming
Taminos.
SKU: BA.BVK02270 Autograph: National Archive from the Richard-Wagner-S...(+)
SKU: BA.BVK02270
Autograph: National
Archive from the
Richard-Wagner-Stiftung
Bayreuth. Composed by
Richard Wagner. Edited by
Ulrich Konrad. This
edition: facsimile.
Half-leather binding.
Documenta musicologica.
II/45 / Barenreiter
Facsimile. Facsimile. WWV
90. 405 pages.
Baerenreiter Verlag
#BVK02270_00. Published
by Baerenreiter Verlag
(BA.BVK02270).
ISBN
9783761822708. 41.7 x 30
cm inches. Text Language:
English,
German.
This
Tristan will be something
formidable! This last
act!
I fear the
opera will be banned - if
the whole work is not
parodied through bad
performance: only
mediocre performances can
save me! Thoroughly good
ones will surely drive
people crazy. Richard
Wagner
While
working on the score
toTristan und Isolde,
Richard Wagner expressed
his excitement and
elation about his new
musical drama. Indeed,
the radical originality
of the work proved to be
both unique and
forward-looking: Over 150
years ago it signified
thedawnof the modern era
and to this day it has
not lost any of its
fascination. Throughout
his life, Richard Wagner
was proud of his even
handwriting.
He
constantly strove to
produce manuscripts of a
high calligraphic
standard. The Tristan
manuscript is also
clearly written. More so
than in his other scores
however, traces of his
working process are
evident. It is precisely
this aspect of the
autograph that makes it
fascinating. Reading it,
one is witness to
Wagner's
highlyconcentrated,
powerful and relentless
writing. This manuscript
is in every possible way
unparalleled reflecting
individuality and
uniqueness.
In
time for the 200th
anniversary of Wagner's
birth in 2013, this great
work is published as a
BARENREITER FACSIMILE in
cooperation with the
National Archive of the
Richard-Wagner-Stiftung
Bayreuth. In addition to
the complete score, the
edition includes the
autograph concert ending
of the Vorspiel as well
as three pages that
Wagner rejected while
composing and later used
for
sketches.
Ulrich
Konrad, the renowned
musicologist describes
the genesis and
performance history of
the work in his
comprehensive commentary.
He also details the
physical appearance and
condition of the
autograph as well as
giving an insight into
the musical language of
Wagner.