PARTITIONS GRATUITES : QUINTETTE à VENT : FLûTE, CLARINETTE, HAUTBOIS, COR, BASSON
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Schirmer Concert Band. Size 9x12 inches. 52 pages. Published by G SCHIRMER, INC.

(concert band with vocal solo). By Samuel Barber. Arranged by Kenneth Singleton. Schirmer Concert Band. Published by G. Schirmer, Inc.

Composed by Greg Bartholomew. For "trumpet, timpani & string orchestra". Pathways Series. Level 4. Score and set of parts. Duration "3 minutes, 40 seconds". Published by Imagine Music

Composed by Greg Bartholomew. For "trumpet, percussion & string orchestra". Pathways Series. Level 4. Score and set of parts. Duration "3 minutes, 40 seconds". Published by Imagine Music

Composed by Greg Bartholomew. For "trumpet, marimba & string orchestra". Pathways Series. Level 4. Score and set of parts. Published by Imagine Music

Second Edition. Composed by Danny Elfman. This edition: Paperback/Softcover. Sheet music. Study score. Composed 1989. 392 pages. Omni Music Publishing #OMNI 50797. Published by Omni Music Publishing

Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4 Horns, Bass Drum, Contra-bassoon, Cymbal, English Horn, Percussion: Snare Drum, Strings, Timpani, Tuba

SKU: PR.466411770

Composed by Harl Mcdonald. This edition: Study Score. Contemporary. Full score. With Standard notation. 84 pages. Duration 15 minutes. Theodore Presser Company #466-41177. Published by Theodore Presser Company (PR.466411770).

UPC: 680160640850. 9 x 12 inches.

Mississippi I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. Saga of the Mississippi Harl McDonald Born near Boulder, Colorado, July 27, 1899 Now living in Philadelphia The original suggestion for a symphonic work on the subject of the Mississippi came indirectly from the late Booth Tarkington who saw in it color and movement and atmosphere translatable into the terms of music. In the course of time, by the mysterious processes of composers' chemistry, it took shape as a tone-poem of two sections, one representing the rise of the great stream from its primeval geologic sources, the other the human history of the river. Mr. McDonald devised the following verbal outline of the general scheme of his diptych: I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. The first of the two movements, beginning molto andante, is vaguel modal to hint at antiquity. It is built upon the conventional two themes, with an episode, poco piu mosso, misterioso, for prehistoric murk and muck. There are various changes of pace and mood. The second, Allegro ma vigorosamente, prefigures an Indian ceremony. A theme presented by flute, clarinet and bassoon is a Canadian Indian fishing call collected by the late J.B. Beck. A later passage of quasi-Gregorian chant identifies the French and Spanish priests who made the great river their highway. The fishing-call is altered in rhythm and harmony to represent Negro field hands and roustabous. A turbulent close brings all these elemts together in the muddy swirling currents of the Mississippi. The work was begun in the summer of 1945, and was revised and completed in the summer of 1947. Harl McDonald, who is the manager of The Philadelphia Orchestra, has concerned himself with music as an art, as a science and as a business in course of his career. He was born on a cattle ranch in the Rockies, but since his was a musical family, his up-bringing combined piano lessons with ranch life. Years of study and professional experience followed in Los Angeles and in Germany. In 1927 he was appointed lecuter in composition at the University of Pennsylvania and he has since then made is home in Philadelphia. In 1933 under a grant of the Rockefeller FOundation he collaborated with physicists in research dealing with the measurement of instrumental and vocal tone, new scale divisions and the resultant harmonies. In that same year he was named head of the University's music faculty and conductor of its choral organizations. In 1939, having been a member of the Board of Directors for five years, he was appointed manager of The Philadelphia Orchestra. He continus to write, but otherwise his entire attention is now devoted to managerial duties. Chief items in the catalogue of his compositions are four symphonies, three orchestra suites, a half-dozen tone-poems, three concertos and considerable quantity of choral music.

Orchestra (solos: T,A(Bar) - 4(2picc).3(cor ang).5(Eb-clar.Bb-clar).3 (dble bsn) - 4.3.3.1 - 2hp.cel.mand.timp.perc(4) - str)

SKU: BR.OB-5641-60

Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Set of parts. 1116 pages. Duration 65'. Breitkopf and Haertel #OB 5641-60. Published by Breitkopf and Haertel (BR.OB-5641-60).

ISBN 9790004348833. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.