| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Butterfly That Stamped Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Baritone Saxophone Solo - Grade 4 SKU: BT.DHP-10844...(+)
Concert Band/Harmonie and
Baritone Saxophone Solo -
Grade 4 SKU:
BT.DHP-1084447-010
Le Papillon qui tapait
du pied. Composed by
Maxime Aulio. Solo
Spectrum. Concert Piece.
Set (Score & Parts).
Composed 2008. De Haske
Publications #DHP
1084447-010. Published by
De Haske Publications
(BT.DHP-1084447-010).
9x12 inches.
English-German-French-Dut
ch. The
Butterfly that
Stamped is a story
from the anthology
Just So Stories,
written by Rudyard
Kipling for his daughter
who suffered constant bad
health. The book inspired
composer Maxim Aulio to
compose this work which
is in a French
impressionistic style.
The piece opens with a
beautiful palace
surrounded by the
impressive gardens of
King Solomon. It is in
these gardens that the
baritone saxophone makes
its appearance
representing King Solomon
himself, the flute
representing the
butterfly couple, the
clarinet representing
Queen Balkis and the
trumpet the
djin.
The
Butterfly that
Stamped - Der
Schmetterling, der
aufstampfte“ - ist
eine von zwölf
Erzählungen aus dem
Band Just So
Stories, den Rudyard
Kipling, der berühmte
Autor des
Dschungelbuchs,
Ende des 19. Jahrhunderts
für seine kranke
Tochter schrieb. Der
französische Komponist
Maxime Aulio ließ sich
von dieser bezaubernden
Geschichte zu einer
Komposition im Stil des
französischen
Impressionismus
inspirieren. Vor der
wundervoll orchestrierten
musikalischen Kulisse des
Palastes und der
Gärten König
Salomons treten das
Baritonsaxophon als
König Salomon, die
Flöten als
Schmetterlingspärchen,
eine Klarinette als
Königin Balkis und die
Trompeten als
Dschinnsauf. Vorhang auf!
Rudyard Kipling
(1865-1936) est
l’un des plus
célèbres
écrivains de langue
anglaise. Né Bombay en
Inde, ce journaliste,
poète et romancier
reçoit le prix Nobel
de littérature en
1907. On lui doit
notamment les
célèbres ouvrages
Le Livre de la
Jungle (1894),
Histoires comme
ça (1902) et
Kim (1901), entre
autres. Rudyard Kipling a
sillonné le monde,
glanant de-ci de-l des
mots et des merveilles
raconter aux petits et
aux grands.
Aujourd’hui encore
ses Histoires comme ça
enchantent par leur
drôlerie et leur
poésie ; de
délicieux récits
d’animaux entre
l’Inde et
l’Afrique
initialement écrits
pour sa fille,
Joséphine, qui mourut
en 1899 des suites
d’unegrippe.Le
Papillon qui tapait du
pied est un des douze
contes du recueil
Histoires comme
ça. Maxime Aulio
s’en est
inspiré pour créer
une œuvre qui
s’inscrit dans la
tradition de
l’impressionnisme
musical français. Le
saxophone baryton solo
incarne le Roi Salomon,
fils de David ; les fl
tes jouent le couple de
papillons ; une
clarinette est la Reine
Balkis - la Sage Balkis
de Saba - tandis que les
trompettes et les cornets
représentent les
Djinns. Les personnages
évoluent dans un
décor orchestral
merveilleux
l’image des
jardins et du palais du
Roi Salomon. / The
Butterfly That Stamped
(Le Papillon qui tapait
du pied) est une
œuvre de commande
pour la Fédération
Musicale
d’Auvergne
(France) avec le soutien
du Conseil Régional
d’Auvergne,
l’occasion du 10e
anniversaire de
l’Orchestre
Régional
d’Harmonie
École.
L’œuvre a
été donnée en
création le 30 avril
2006 au Thé tre
Municipal
d’Aurillac.
L’Orchestre
Régional
d’Harmonie
École
d’Auvergne
était placé sous la
direction de Claude
Kesmaecker, avec en
soliste, Alexandre Doisy,
saxophone baryton.
The Butterfly
That Stamped è una
delle dodici novelle
della raccolta Just So
Stories, del celebre
scrittore britannico
Rudyard Kipling
(1865-1936). Maxime Aulio
se ne è ispirato per
creare un brano che di
iscrive nella tradizione
dell’impressionism
o musicale francese. Il
sax baritono solo
rappresenta il Re
Salomone, figlio di
David. I personaggi si
muovono in uno sfondo
orchestrale meraviglioso
e incantano per la loro
poesia. $203.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Peter Maxwell Davies: Strathclyde Concerto No. 9 Score And Parts Chester
Stringorchestra with Wind SKU: HL.14020989 Composed by Sir Peter Maxwell ...(+)
Stringorchestra with Wind
SKU: HL.14020989
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Set. Composed
1999. 72 pages. Chester
Music #CH61154. Published
by Chester Music
(HL.14020989). ISBN
9780711952027.
9.0x12.0x0.433
inches. The solo
group consists of a
sextet of the woodwind
instruments which are
normally doubled with
more regular members of
the orchestra: these six
strangers, now brought to
the fore, are piccolo,
alto flute, cor anglais,
clarinet in Eb, bass
clarinet in Bb and
contrabassoon. They make
a motley group, diverse
in colour as in register,
and one of the tasks of
the piece sets itself is
to have them blend and
cohere, both together as
an ensemble and in
partnership with the
string orchestra (which
itself is used with
unusual variety and
subtlety). Another
evident task of the work
is to provide fine solos
for each member of the
woodwind sextet: bright
dances for the piccolo,
recitatives for the alto
flute, a stoical song
from the contrabassoon in
the extreme bass. The
work is cast as a single
movement, which begins in
the composer's
first-movement style of
rapid regeneration. This
is interrupted by slow
interventions, including
one for divided strings
which gives rise to a
sextuple cadenza for the
soloists. Out of this
comes a slow movement, or
sequence of short slow
movements, followed by a
dancing finale with its
own slow episodes.
Altogether this is music
of songs and dances,
heavily tinged with
Scottish rhythms and
tonalities: one might
think of a magic bagpipe,
having six chanters and a
drone of variegated
string texture. $43.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ruders Listening Earth Score Book Orchestre [Conducteur] Wilhelm Hansen
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra SKU:
HL.14027993 Composed
by Poul Ruders. Music
Sales America. Classical.
Score. Composed 2006. 164
pages. Edition Wilhelm
Hansen #WH30602.
Published by Edition
Wilhelm Hansen
(HL.14027993). ISBN
9788759811832.
English. Premiered
at the festival 'Magma
Berlin 2002' by the
Berlin Philharmonic
Orchestra, conducted by
David Robertson, 29th
November 2002.
3
Flutes, 1st and 2nd also
Alto Flutes in G, 3rd
also Piccolo 3 Oboes,
3rd also Cor Anglais in
F 3 Clarinets in Bb,
3rd also Bass Clarinet in
Bb 3 Bassoons, 3rd
also Contra
Bassoon
4 Horn in
F 3 Trumpets in
Bb 3 Trombones 1
Tuba
Timpani 4 Percussion, four
players Player
1 - Vibraphone,
Glockenspiel, Water
Chime, Bell Tree,
Japanese Wood Blocks,
Cymbal (Suspended),
TamTam (Medium) Player
2 - Triangle, Tubular
Bells, Crotales, Marimba,
Chinese Cymbal Player
3 - TamTam (Large), Java
Gong(Large, very low),
Bell Lyra (Handheld),
Sizzle Cymbal Player 4
- Bass Drum,
Glockenspiel,
Xylophone
1
Harp
1 Piano, also
Celesta
Strings -
16/14/12/10/8
All
transposing instruments
are notated in their
relevant
transpositions. Any
accidental apply only to
the note that it
immediately precedes,
except tied
notes. Naturals appear
occasionally 'for
safety'.
'LIST
ENING EARTH' is a
symphonic drama, a one-
movement composition in
four parts based on the
work by two writers,
Joseph Addison
(1672-1719) and W.H.Auden
(1907-1973). Joseph
Addison is not
particularly well known;
he was English, a
classical scholar,
essayist, poet and
politician, but one of
his hymns was used by
Benjamin Britten. in his
setting of a Thomas
Tallis canon. The hymn
is singularly beautiful
and being a composer
always inspired by
extramusical stimuli such
as poems, nature,
paintings, I was
immediately convinced
when I carne across the
Addison hymn, that here
was exactly what I wanted
to use as my major source
of inspiration for this
piece, commissioned by
and written for The
Berlin Philharmonic.
I don't refer to the
hymn in its entirety, but
have chosen the following
3 excerpts, all acting as
mottos for the first
three sections of the
piece, thus turning the
piece into a
straightforward tonepoem
in the classical. $131.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| T-Bone Concerto Orchestre d'harmonie [Conducteur et Parties séparées] Amstel Music
Complete - Score and Parts. By Johan De Meij. Amstel Concert Bands. Published by...(+)
Complete - Score and
Parts. By Johan De Meij.
Amstel Concert Bands.
Published by Amstel
Music.
$418.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Butterfly That Stamped Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Baritone Saxophone Solo - Grade 4 SKU: BT.DHP-10844...(+)
Concert Band/Harmonie and
Baritone Saxophone Solo -
Grade 4 SKU:
BT.DHP-1084447-140
Le Papillon qui tapait
du pied. Composed by
Maxime Aulio. Solo
Spectrum. Concert Piece.
Score Only. Composed
2008. 24 pages. De Haske
Publications #DHP
1084447-140. Published by
De Haske Publications
(BT.DHP-1084447-140).
9x12 inches.
English-German-French-Dut
ch. The
Butterfly that
Stamped is a story
from the anthology
Just So Stories,
written by Rudyard
Kipling for his daughter
who suffered constant bad
health. The book inspired
composer Maxim Aulio to
compose this work which
is in a French
impressionistic style.
The piece opens with a
beautiful palace
surrounded by the
impressive gardens of
King Solomon. It is in
these gardens that the
baritone saxophone makes
its appearance
representing King Solomon
himself, the flute
representing the
butterfly couple, the
clarinet representing
Queen Balkis and the
trumpet the
djin.
The
Butterfly that
Stamped - Der
Schmetterling, der
aufstampfte“ - ist
eine von zwölf
Erzählungen aus dem
Band Just So
Stories, den Rudyard
Kipling, der berühmte
Autor des
Dschungelbuchs,
Ende des 19. Jahrhunderts
für seine kranke
Tochter schrieb. Der
französische Komponist
Maxime Aulio ließ sich
von dieser bezaubernden
Geschichte zu einer
Komposition im Stil des
französischen
Impressionismus
inspirieren. Vor der
wundervoll orchestrierten
musikalischen Kulisse des
Palastes und der
Gärten König
Salomons treten das
Baritonsaxophon als
König Salomon, die
Flöten als
Schmetterlingspärchen,
eine Klarinette als
Königin Balkis und die
Trompeten als
Dschinnsauf. Vorhang auf!
Rudyard Kipling
(1865-1936) est
l’un des plus
célèbres
écrivains de langue
anglaise. Né Bombay en
Inde, ce journaliste,
poète et romancier
reçoit le prix Nobel
de littérature en
1907. On lui doit
notamment les
célèbres ouvrages
Le Livre de la
Jungle (1894),
Histoires comme
ça (1902) et
Kim (1901), entre
autres. Rudyard Kipling a
sillonné le monde,
glanant de-ci de-l des
mots et des merveilles
raconter aux petits et
aux grands.
Aujourd’hui encore
ses Histoires comme ça
enchantent par leur
drôlerie et leur
poésie ; de
délicieux récits
d’animaux entre
l’Inde et
l’Afrique
initialement écrits
pour sa fille,
Joséphine, qui mourut
en 1899 des suites
d’unegrippe.Le
Papillon qui tapait du
pied est un des douze
contes du recueil
Histoires comme
ça. Maxime Aulio
s’en est
inspiré pour créer
une œuvre qui
s’inscrit dans la
tradition de
l’impressionnisme
musical français. Le
saxophone baryton solo
incarne le Roi Salomon,
fils de David ; les fl
tes jouent le couple de
papillons ; une
clarinette est la Reine
Balkis - la Sage Balkis
de Saba - tandis que les
trompettes et les cornets
représentent les
Djinns. Les personnages
évoluent dans un
décor orchestral
merveilleux
l’image des
jardins et du palais du
Roi Salomon. / The
Butterfly That Stamped
(Le Papillon qui tapait
du pied) est une
œuvre de commande
pour la Fédération
Musicale
d’Auvergne
(France) avec le soutien
du Conseil Régional
d’Auvergne,
l’occasion du 10e
anniversaire de
l’Orchestre
Régional
d’Harmonie
École.
L’œuvre a
été donnée en
création le 30 avril
2006 au Thé tre
Municipal
d’Aurillac.
L’Orchestre
Régional
d’Harmonie
École
d’Auvergne
était placé sous la
direction de Claude
Kesmaecker, avec en
soliste, Alexandre Doisy,
saxophone baryton.
The Butterfly
That Stamped è una
delle dodici novelle
della raccolta Just So
Stories, del celebre
scrittore britannico
Rudyard Kipling
(1865-1936). Maxime Aulio
se ne è ispirato per
creare un brano che di
iscrive nella tradizione
dell’impressionism
o musicale francese. Il
sax baritono solo
rappresenta il Re
Salomone, figlio di
David. I personaggi si
muovono in uno sfondo
orchestrale meraviglioso
e incantano per la loro
poesia. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eine Alpensinfonie, Op. 64 Orchestre [Conducteur d'étude / Miniature] Eulenburg
By Richard Strauss. Arranged by Stephan Kohler. (Study Score). Schott. 172 page...(+)
By Richard Strauss.
Arranged by Stephan
Kohler. (Study Score).
Schott. 172 pages.
Published by Eulenburg.
$45.00 - Voir plus => Acheter | | |
| The Judas Tree Chester
Score Orchestra SKU: HL.14010199 Ballet in Five Movements for Orchestr...(+)
Score Orchestra SKU:
HL.14010199 Ballet
in Five Movements for
Orchestra. Composed
by Brian Elias. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
2000. 171 pages. Chester
Music #CH61420. Published
by Chester Music
(HL.14010199). ISBN
9780711975262. A
ballet in five movements
for orchestra was
commissioned by The Royal
Opera House, for Sir
Kenneth MacMillan and The
Royal Ballet. The first
performance was given at
The Royal Opera House on
19th March 1992. Scoring
4 FLUTES; 2 OBOES; COR
ANGLAIS; 2 CLARINETS IN
BFLAT(2ND DOUBLING
CLARINET IN E FLAT); BASS
CLARINET IN B FLAT; 2
BASSOONS; CONTRA BASSOON;
4 HORNS IN F; 4 TRUMPETS
IN C; 2 TROMBONES; 1 BASS
TROMBONE; TUBA; HARP;
CELESTA; TIMPANI; SOPRANO
STEEL PAN; PERCUSSION;
STRINGS. The duration of
this work is 34 minutes,
Conductor's score, piano
score and orchestral
parts are available on
hire. $63.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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