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1
RAGING FURIES - Goettinnen der Rache
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Orchestra
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INTERMEDIATE/ADVANCED
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Rainer Fabich Orchestra
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Rainer Fabich
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RAGING FURIES - Goettinnen der
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Fajora Music
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classic...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,Film/TV. Score and Parts. 212 pages. Fajora Music #821876. Published by Fajora Music (A0.1225840). RAGING FURIES - Rasende FurienGoddesses of revenge - Göttinnenn der RageConcert Piece for big orchestra - Score and PartsThe image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: Megäre, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht Dürer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred Döblin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der Hölle Rache by the Queen of the Night.Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - Prélude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.
$49.95
Footloose
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Orchestra
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ADVANCED
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Blake Shelton
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Daryl McKenzie
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Footloose
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Daryl McKenzie
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1259054 By Blake Shelton. By Dean Pitchford and Kenny Loggins. Arranged by Daryl McKenzie. Broadway,F...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1259054 By Blake Shelton. By Dean Pitchford and Kenny Loggins. Arranged by Daryl McKenzie. Broadway,Film/TV,Musical/Show,Pop,Rock. Score and Parts. 140 pages. Daryl McKenzie #852319. Published by Daryl McKenzie (A0.1259054). Arranged in the style of Kenny Loggins for Vocal with Pops Orchestra - Voice,2Fl/Picc, 2Ob,2Cl,2Bsn,5 Sax, 4Hn,4Trpt,4Trb,Tba, Timp,3 Perc, Pno, Gtr, Bass, Drums, Harp, Vln1, Vln2, Vla, Vcl, CB. Key of ANote: Playable without SaxesFull audio demo (Sibelius Sounds): click hereBig Band arrangement also available, search: HereMore arrangements by Daryl McKenzie: https://bit.ly/2VKpOXFContact: http://www.mckenziemusicproductions.comYoutube Playlist: https://bit.ly/3m0oUkH
$49.99
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestra
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ADVANCED
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #94204...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Symphony No. 3 in A minor, op. 17
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Orchestra
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ADVANCED
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Contemporary
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #94126...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Mrs. Doubtfire - Score Only
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Orchestra
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INTERMEDIATE
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Film/TV
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Robin Williams
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Chris Siddall
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Mrs. Doubtfire - Score Only
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Chris Siddall Music Publishing
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1399034 Composed by Robin Williams. Arranged by Chris Siddall. Film/TV. 24 pages. Chris Siddall Music...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1399034 Composed by Robin Williams. Arranged by Chris Siddall. Film/TV. 24 pages. Chris Siddall Music Publishing #982313. Published by Chris Siddall Music Publishing (A0.1399034). Now a household name thanks to Peter Jackson’s Lord of the Rings trilogy, in 1993 composer Howard Shore was perhaps more well known for brooding orchestral suspense and horror music than the wholesome comedy genre, though perhaps most notably he had scored the Tom Hanks movie Big.  Mrs. Doubtfire’s score is pretty, fluffy and cheery orchestral ambience which is bound to lift your mood. Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$14.99
Divinum Mysterium
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Orchestra
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INTERMEDIATE/ADVANCED
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12th Century Plainchant
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Robert Myers
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Oboe 1,2
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Divinum Mysterium
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporar...
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Full Orchestra - Level 4 - Digital Download SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) – Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. I’ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves don’t arrive in steady rhythms, these musical waves are variable – sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully – a child is born, and (3) contemplative – God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Don’t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiah’s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn – one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the ship’s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB
$75.00
Alexander Glazunov - Grand Concert Waltz in E-Flat Major, Op. 41, For Piano and Orchestra, Orche
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Orchestra
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Classical
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Alexander Glazunov
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Arkady Leytush
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Alexander Glazunov - Grand Con
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008425 Composed by Alexander Glazunov. Arranged by Arkady Leytush. Romantic Period. Score and parts. 82 pages....
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Full Orchestra - Digital Download SKU: A0.1008425 Composed by Alexander Glazunov. Arranged by Arkady Leytush. Romantic Period. Score and parts. 82 pages. Arkady Leytush #6599291. Published by Arkady Leytush (A0.1008425). Glazunov's orchestral repertoire includes two famous waltzes op. 47 and 51. Big concert waltz op. 41 was written exclusively for piano. I had a great desire to change the salon scale of this work, moving it to the concert stage, making a transcription for piano with a large symphony orchestra. The structure and periodicity of the musical form allowed me to realize this idea as a dialogue, a duet of a soloist and an orchestra. In some episodes, only the orchestra or only the solo piano sounds, while a number of other places are more like a typical concert for piano and orchestra. I hope this new transcription should be of an interest for both, pianists and conductors. Considering the compactness of the sound (7 minutes), this piece could, for example, decorate a concert program after performing a concert for piano and orchestra as an encore.
$60.00
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