Textcritical
Edition. Composed by
Gustav Mahler. Edited by
Christian Rudolf Riedel.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
First edition based on
the copy of the score
revised by Mahler Hamburg
1893
Symphony;
Romantic; Late-romantic.
Part. 4 pages. Duration
8'. Breitkopf and Haertel
#OB 5642-27. Published by
Breitkopf and Haertel
(BR.OB-5642-27).
ISBN
9790004343715. 10.5 x 14
inches.
The Blumine
movement included in the
original five-movement
version of Mahler's
Symphony No. 1 was long
considered lost. Composed
as early as 1884 for a
theater piece, Mahler
inserted it into the
symphony as its second
movement in 1888. After
three performances, he
turned his back on this
Love Episode, calling the
sentimental, gushing
movement a youthful
folly, and removed it.
Mahler's Hamburg
autograph score was only
rediscovered in 1966.
Benjamin Britten gave the
Blumine movement a new
hearing at the 1967
Aldeburgh Festival. The
critical new edition is
based for the first time
on the autograph score,
together with the
meanwhile rediscovered
score copy with Mahler's
last revisions.The
cloth-bound volume PB
5661 contains next to the
final version of the
four-movement Symphony,
the Blumine
movement.
First
edition based on the copy
of the score revised by
Mahler Hamburg 1893.
Textcritical
Edition. Composed by
Gustav Mahler. Edited by
Christian Rudolf Riedel.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
First edition based on
the copy of the score
revised by Mahler Hamburg
1893
Symphony;
Romantic; Late-romantic.
Part. 4 pages. Duration
8'. Breitkopf and Haertel
#OB 5642-23. Published by
Breitkopf and Haertel
(BR.OB-5642-23).
ISBN
9790004343708. 10.5 x 14
inches.
The Blumine
movement included in the
original five-movement
version of Mahler's
Symphony No. 1 was long
considered lost. Composed
as early as 1884 for a
theater piece, Mahler
inserted it into the
symphony as its second
movement in 1888. After
three performances, he
turned his back on this
Love Episode, calling the
sentimental, gushing
movement a youthful
folly, and removed it.
Mahler's Hamburg
autograph score was only
rediscovered in 1966.
Benjamin Britten gave the
Blumine movement a new
hearing at the 1967
Aldeburgh Festival. The
critical new edition is
based for the first time
on the autograph score,
together with the
meanwhile rediscovered
score copy with Mahler's
last revisions.The
cloth-bound volume PB
5661 contains next to the
final version of the
four-movement Symphony,
the Blumine
movement.
First
edition based on the copy
of the score revised by
Mahler Hamburg 1893.
Textcritical
Edition. Composed by
Gustav Mahler. Edited by
Christian Rudolf Riedel.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
First edition based on
the copy of the score
revised by Mahler Hamburg
1893
Symphony;
Romantic; Late-romantic.
Part. 4 pages. Duration
8'. Breitkopf and Haertel
#OB 5642-19. Published by
Breitkopf and Haertel
(BR.OB-5642-19).
ISBN
9790004343692. 10.5 x 14
inches.
The Blumine
movement included in the
original five-movement
version of Mahler's
Symphony No. 1 was long
considered lost. Composed
as early as 1884 for a
theater piece, Mahler
inserted it into the
symphony as its second
movement in 1888. After
three performances, he
turned his back on this
Love Episode, calling the
sentimental, gushing
movement a youthful
folly, and removed it.
Mahler's Hamburg
autograph score was only
rediscovered in 1966.
Benjamin Britten gave the
Blumine movement a new
hearing at the 1967
Aldeburgh Festival. The
critical new edition is
based for the first time
on the autograph score,
together with the
meanwhile rediscovered
score copy with Mahler's
last revisions.The
cloth-bound volume PB
5661 contains next to the
final version of the
four-movement Symphony,
the Blumine
movement.
First
edition based on the copy
of the score revised by
Mahler Hamburg 1893.
Textcritical
Edition. Composed by
Gustav Mahler. Edited by
Christian Rudolf Riedel.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
First edition based on
the copy of the score
revised by Mahler Hamburg
1893
Symphony;
Romantic; Late-romantic.
Set of parts. 192 pages.
Duration 8'. Breitkopf
and Haertel #OB 5642-60.
Published by Breitkopf
and Haertel
(BR.OB-5642-60).
ISBN
9790004343722. 10.5 x 14
inches.
The Blumine
movement included in the
original five-movement
version of Mahler's
Symphony No. 1 was long
considered lost. Composed
as early as 1884 for a
theater piece, Mahler
inserted it into the
symphony as its second
movement in 1888. After
three performances, he
turned his back on this
Love Episode, calling the
sentimental, gushing
movement a youthful
folly, and removed it.
Mahler's Hamburg
autograph score was only
rediscovered in 1966.
Benjamin Britten gave the
Blumine movement a new
hearing at the 1967
Aldeburgh Festival. The
critical new edition is
based for the first time
on the autograph score,
together with the
meanwhile rediscovered
score copy with Mahler's
last revisions.The
cloth-bound volume PB
5661 contains next to the
final version of the
four-movement Symphony,
the Blumine
movement.
First
edition based on the copy
of the score revised by
Mahler Hamburg 1893.
Textcritical
Edition. Composed by
Gustav Mahler. Edited by
Christian Rudolf Riedel.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
First edition based on
the copy of the score
revised by Mahler Hamburg
1893
Symphony;
Romantic; Late-romantic.
Part. 4 pages. Duration
8'. Breitkopf and Haertel
#OB 5642-16. Published by
Breitkopf and Haertel
(BR.OB-5642-16).
ISBN
9790004343685. 10.5 x 14
inches.
The Blumine
movement included in the
original five-movement
version of Mahler's
Symphony No. 1 was long
considered lost. Composed
as early as 1884 for a
theater piece, Mahler
inserted it into the
symphony as its second
movement in 1888. After
three performances, he
turned his back on this
Love Episode, calling the
sentimental, gushing
movement a youthful
folly, and removed it.
Mahler's Hamburg
autograph score was only
rediscovered in 1966.
Benjamin Britten gave the
Blumine movement a new
hearing at the 1967
Aldeburgh Festival. The
critical new edition is
based for the first time
on the autograph score,
together with the
meanwhile rediscovered
score copy with Mahler's
last revisions.The
cloth-bound volume PB
5661 contains next to the
final version of the
four-movement Symphony,
the Blumine
movement.
First
edition based on the copy
of the score revised by
Mahler Hamburg 1893.
Textcritical
Edition. Composed by
Gustav Mahler. Edited by
Christian Rudolf Riedel.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
First
edition based on the copy
of the score revised by
Mahler Hamburg 1893
Symphony; Romantic;
Late-romantic. Full
score. 28 pages. Duration
8'. Breitkopf and Haertel
#PB 5642. Published by
Breitkopf and Haertel
(BR.PB-5642).
ISBN
9790004215395. 10.5 x 14
inches.
The Blumine
movement included in the
original five-movement
version of Mahler's
Symphony No. 1 was long
considered lost. Composed
as early as 1884 for a
theater piece, Mahler
inserted it into the
symphony as its second
movement in 1888. After
three performances, he
turned his back on this
Love Episode, calling the
sentimental, gushing
movement a youthful
folly, and removed it.
Mahler's Hamburg
autograph score was only
rediscovered in 1966.
Benjamin Britten gave the
Blumine movement a new
hearing at the 1967
Aldeburgh Festival. The
critical new edition is
based for the first time
on the autograph score,
together with the
meanwhile rediscovered
score copy with Mahler's
last revisions.The
cloth-bound volume PB
5661 contains next to the
final version of the
four-movement Symphony,
the Blumine
movement.
First
edition based on the copy
of the score revised by
Mahler Hamburg 1893.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2682
For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major.
Second Movement - Full Score and Parts. By Howard Hanson. Arranged by Norman A. ...(+)
Second Movement - Full
Score and Parts. By
Howard Hanson. Arranged
by Norman A. Goldberg.
Concert band/stage band.
For Piccolo, Flute I,
Flute II, Oboe I, Oboe
II, English Horn,
Clarinet I, Clarinet II,
Clarinet III, Clarinet
IV, Alto Clarinet, Bass
Clarinet, Alto Saxophone
I, Alto Saxophone II,
Tenor Saxophone, Baritone
Saxophone, Bassoon I,
Bassoon II, Horn I, Horn
II, Horn III, Horn IV,
Cornet I, Cornet II,
Trumpet I, Trumpet II,
Tenor I, Tenor II, Tenor
III, Euphonium, Tuba,
Double Bass, Timpani,
Harp, Snare Drum. Score
and parts. 20 pages.
Published by Carl
Fischer.
Composed by Michael John Trotta. 21st Century. Piano/choral score. Duration 4...(+)
Composed by Michael John
Trotta. 21st Century.
Piano/choral score.
Duration
4 minutes, 25 seconds.
Galaxy
Music Corporation
#1.3549.
Published by Galaxy Music
Corporation
Music, Movement and
More! The Music Magazine
for Grades K-6.
Composed by Jeanette
Morgan. CD, games,
lesson, movement.
Heritage Music Press
#AC0810. Published by
Heritage Music Press
(LO.AC0810).
ISBN
9780893283711.
Acti
vate! is an all-you-need
resource for the K-6
classroom teacher. Each
jam-packed compilation
includes: songs to help
students discover their
voices; opportunities to
utilize classroom
instruments, from the
traditional to the
creative; folk dances and
other movement
activities; and
pencil-to-paper games and
activities addressing a
variety of music
concepts. Lesson plans
are provided and a CD
with numerous
complementary recordings
is included in each book.
You want more? Okay. The
National Standards for
Music Education are
referenced and all
student pages are
reproducible!
Movement III - Mother Earth (SSA Choral Part). Composed by Johan De Meij. Amstel...(+)
Movement III - Mother
Earth (SSA Choral Part).
Composed by Johan De
Meij. Amstel Music.
Concert Piece. Set (Score
and Parts). Composed
2007. Amstel Music #AM
93-050. Published by
Amstel Music
Orchestra - Grade 3.5 SKU: AP.33734S Composed by Gustav Mahler. Arranged ...(+)
Orchestra - Grade 3.5
SKU: AP.33734S
Composed by Gustav
Mahler. Arranged by Bob
Lipton. Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Masterwork
Arrangement; Romantic.
Score. 16 pages.
Highland/Etling
#00-33734S. Published by
Highland/Etling
(AP.33734S).
UPC:
038081385402.
English.
You can
hear the genius of
Mahler's string writing
in this accessible
arrangement of the second
movement of his
Resurrection symphony.
Staying true to the
original orchestration,
your students will have a
chance to soar with the
romanticism of the main
theme and dance with the
charm of the pizzicato
section. Mahler called
this movement a
remembrance of happy
times. Your students will
create happy memories
playing the music of this
revered master.
By Gustav Mahler (1860-1911). Arranged by Bob Lipton. Orchestra. Masterworks; Pa...(+)
By Gustav Mahler
(1860-1911). Arranged by
Bob Lipton. Orchestra.
Masterworks; Part(s);
Score; String Orchestra.
Highland String
Orchestra. Form:
Transcription. Masterwork
Arrangement; Romantic.
Grade 3.5. 124 pages.
Published by Alfred Music
Publishing
(Movement 2, Concerto
For Trumpet, Two Oboes
And Continuo).
Composed by Georg Philipp
Telemann. Arranged by
Steve Frackenpohl. Solo
or Ensemble. Apex String
Orchestra. Score and
parts. Kendor Music Inc
#9986. Published by
Kendor Music Inc
(KN.9986).
UPC:
822795099867.
This
arrangement of the second
movement of the Concerto
in D (43:D7) for Trumpet,
Two Oboes and Continuo is
arranged here for grade 3
groups. This exciting and
cheerful Baroque gem
keeps all the sections
engaged and features the
creativeness
inventiveness of Georg
Philipp Telemann.
Encompassing the typical
energetic Baroque style,
several inventive
contrasting sections are
included that clearly
point towards the early
Classical era. Duration
2:55. Available in
SmartMusic.
(Movement 2, Concerto
For Trumpet, Two Oboes
And Continuo).
Composed by Georg Philipp
Telemann. Arranged by
Steve Frackenpohl. Solo
or Ensemble. Apex String
Orchestra. Kendor Music
Inc #09986S. Published by
Kendor Music Inc
(KN.09986S).
UPC:
822795099867.
This
arrangement of the second
movement of the Concerto
in D (43:D7) for Trumpet,
Two Oboes and Continuo is
arranged here for grade 3
groups. This exciting and
cheerful Baroque gem
keeps all the sections
engaged and features the
creativeness
inventiveness of Georg
Philipp Telemann.
Encompassing the typical
energetic Baroque style,
several inventive
contrasting sections are
included that clearly
point towards the early
Classical era. Duration
2:55. Available in
SmartMusic.
Composed
by Ludwig van Beethoven.
Arranged by Robert
Longfield. Music for
String Orchestra.
Classical, Movies. 8
pages. Published by Hal
Leonard (HL.4491059).
UPC: 884088569693.
9.0x12.0x0.017
inches.
As heard in
the Oscar-winning movie
The King's Speech, one of
Beethoven's most beloved
movements accompanied the
dramatic moments of this
monumental film. Robert
Longfield's accessible
adaptation for string
orchestra can be a
centerpiece of most any
program.
Brass quintet SKU: P2.60051 Composed by Dan Kramer. Chamber music, Contem...(+)
Brass quintet
SKU:
P2.60051
Composed by
Dan Kramer. Chamber
music, Contemporary.
Published by Potenza
Music (P2.60051).
Methods of
Cooking originated as a
piece for brass septet
that was later arranged
for the brass quintet
format. It is a
multimovement work that
explores several
variations of a main
theme that is found
throughout all four
movements. Each movement
seeks to evoke a certain
style associated with a
type of cooking. The
first movement, Simmer ,
introduces the main
thematic material of the
piece from the beginning.
Simmering indicates a
temperature below boiling
that generally is softer
or gentler in food
preparation. Hence, the
movement is a bit more
restrained, without
breaking up the material
a great deal. Boil follow
as the second movement,
and as the temperature
rises, so too does the
pace of the music!
Boiling can sometimes
lead to chaotic
situations in the
kitchen, and the movement
looks to capture the
energy of both the food
as it boils, as well as
the preparer as they make
their way around the
kitchen. This variation
brings the thematic
material into 6/8 time,
as well as introducing
new ideas that help make
the music even more
dynamic. The third
movement slows things
back down with Braise ,
which tends to be a
longer method of cooking.
The thematic material is
surrounded with thicker
harmonies and slowly
announced throughout the
movementI! this mimics
the richness of flavor
often associated with
braising foods, and
signifies the amount of
time this process often
takes to complete. Sautee
is the final movement and
looks to stay true to its
original meaning in
French, to jump or
bounce. The melody
quickly bounces back and
forth between various
instruments and the
entire movement is bright
and playful throughout.
It also serves as a high
energy ending to bring
the entire piece
together.
Score Only Concert Band (Score) - 2-2 1/2 SKU: HL.4003056 Composed by Lud...(+)
Score Only Concert Band
(Score) - 2-2 1/2
SKU:
HL.4003056
Composed
by Ludwig van Beethoven.
Arranged by Robert
Longfield. MusicWorks
Grade 2. Classical,
Contest, Festival.
Published by Hal Leonard
(HL.4003056).
UPC:
884088574758.
9.0x12.0x0.064
inches.
From
Beethoven's Symphony No.
7, this movement is one
of the master's most
recognizable and
performed themes.
Recently featured in the
Oscar-winning film The
King's Speech, here is a
skilled and effective
adaptation for young
bands by Robert
Longfield. A great way to
showcase the classical
period of musical history
on any program. Dur:
2:45.
Orchestra 2.2.2.2:
4Sax(opt.; AATB; all
dCl): 2.3.3.0: Perc(1):
Hp(or Pno): Gtr: Str
(9-8-7-6-5 in set)
SKU: AP.36-A601299
Composed by Morton Gould.
Full Orchestra;
Performance Music
Ensemble. Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A601299.
Published by
LudwigMasters
Publications
(AP.36-A601299).
ISBN
9798888522424. UPC:
676737533847.
English.
Morton
Gould, equally
comfortable in the worlds
of both serious and light
music, presented his
symphonettes (an
Americanization of the
term sinfonietta, much
like kitchenette and
dinette) as works of a
truly American
vernacular, drawing on
popular culture as well
as classical forms. His
American Symphonette No.
2 was the work that first
made Gould a name among
the American public
through radio, with the
second movement (Pavanne)
a pop orchestra standard
to this day.
Instrumentation: 2.2.2.2:
4Sax(opt.; AATB; all
dCl): 2.3.3.0: Perc(1):
Hp(or Pno): Gtr: Str
(9-8-7-6-5 in set). The
original condensed score
is included with this
set, but the full score
has been extracted from
the complete work and
also included.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra 2.2.2.2:
4Sax(opt.; AATB; all
dCl): 2.3.3.0: Perc(1):
Hp(or Pno): Gtr: Str
(9-8-7-6-5 in set)
SKU: AP.36-A601201
Composed by Morton Gould.
Full Orchestra;
Performance Music
Ensemble. Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A601201.
Published by
LudwigMasters
Publications
(AP.36-A601201).
ISBN
9798888522431. UPC:
676737534301.
English.
Morton
Gould (1913-1996),
equally comfortable in
the worlds of both
serious and light music,
presented his
symphonettes (an
Americanization of the
term sinfonietta, much
like kitchenette and
dinette) as works of a
truly American
vernacular, drawing on
popular culture as well
as classical forms. His
American Symphonette No.
2 was the work that first
made Gould a name among
the American public
through radio, with the
second movement (Pavanne)
a pop orchestra standard
to this day.
Instrumentation: 2.2.2.2:
4Sax(opt.; AATB; all
dCl): 2.3.3.0: Perc(1):
Hp(or Pno): Gtr: Str
(9-8-7-6-5 in set). The
original condensed score
is included with this
set, but the full score
has been extracted from
the complete work and
also included.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Symphony No. 6 Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
2nd Movement. Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by R...(+)
2nd Movement. Composed by
Peter Ilyich Tchaikovsky
(1840-1893). Arranged by
Richard Meyer (ASCAP).
Full
Orchestra; Performance
Music
Ensemble; Single Titles.
Highland/Etling First
Philharmonic. Masterwork
Arrangement. Part(s);
Score.
Alfred Music #00-49045.
Published by Alfred Music
Orchestra 2.2.2.2:
4Sax(opt.; AATB; all
dCl): 2.3.3.0: Perc(1):
Hp(or Pno): Gtr: Str
(9-8-7-6-5 in set)
SKU: AP.36-A601290
Composed by Morton Gould.
Full Orchestra;
Performance Music
Ensemble. Kalmus
Orchestra Library.
Masterwork. Score and
Part(s). LudwigMasters
Publications #36-A601290.
Published by
LudwigMasters
Publications
(AP.36-A601290).
UPC:
676737533533.
English.
Morton
Gould, equally
comfortable in the worlds
of both serious and light
music, presented his
symphonettes (an
Americanization of the
term sinfonietta, much
like kitchenette and
dinette) as works of a
truly American
vernacular, drawing on
popular culture as well
as classical forms. His
American Symphonette No.
2 was the work that first
made Gould a name among
the American public
through radio, with the
second movement (Pavanne)
a pop orchestra standard
to this day.
Instrumentation: 2.2.2.2:
4Sax(opt.; AATB; all
dCl): 2.3.3.0: Perc(1):
Hp(or Pno): Gtr: Str
(9-8-7-6-5 in set). The
original condensed score
is included with this
set, but the full score
has been extracted from
the complete work and
also included.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Symphony No. 6 Orchestre [Conducteur] - Facile Alfred Publishing
2nd Movement. Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by ...(+)
2nd Movement. Composed by
Peter Ilyich Tchaikovsky
(1840-1893). Arranged by
Richard Meyer (ASCAP).
Full
Orchestra; Performance
Music
Ensemble; Single Titles.
Highland/Etling First
Philharmonic. Masterwork
Arrangement. Score.
Alfred
Music #00-49045S.
Published
by Alfred Music
By Ludwig van Beethoven (1770-1827). Arranged by Vernon Leidig. Orchestra. Full ...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Vernon Leidig. Orchestra.
Full Orchestra;
Masterworks. Full
Orchestra. Classical;
Masterwork Arrangement;
Romantic. Grade 3.
Conductor Score and
Parts. 178 pages.
Published by Alfred Music
Publishing
By Robert W. Smith. By Robert W. Smith. For Full Orchestra. Full Orchestra. Belw...(+)
By Robert W. Smith. By
Robert W. Smith. For Full
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Level: Easy to
Medium Easy (grade
II-III). Conductor Score
& Parts. 142 pages.
Published by Alfred
Publishing.
(No. 2 from Eternal Brightness ). By Gwyneth W. Walker (1947-). For SATB choir,...(+)
(No. 2 from Eternal
Brightness ). By Gwyneth
W. Walker (1947-). For
SATB choir, a cappella.
Easter, General.
Moderately Easy. Octavo.
Duration 3 minutes, 45
seconds. Published by
E.C. Schirmer Publishing
Jazz Piano Solos Series Vol. 63. Composed by Various. Arranged by Brent Edstro...(+)
Jazz Piano Solos Series
Vol.
63. Composed by Various.
Arranged by Brent
Edstrom.
Jazz Piano Solos. Jazz.
Softcover. 96 pages.
Duration
230 seconds. Published by
Hal
Leonard