| Concerto For Orchestra Study Score Orchestre Schott
Orchestra SKU: HL.49019910 Composed by John Casken. This edition: Saddle ...(+)
Orchestra SKU:
HL.49019910 Composed
by John Casken. This
edition: Saddle
stitching. Sheet music.
Study Score. Softcover.
Composed 2007. 76 pages.
Duration 20'. Schott
Music #ED13617. Published
by Schott Music
(HL.49019910). ISBN
9790220134395. UPC:
888680089528.
8.25x11.75x0.25
inches. My Concerto
for Orchestra (2007) is a
twenty-minute work in
which different sections
of the orchestra, as well
as individual solos and
duos from within the
orchestra, are
highlighted as the music
unfolds. The work
continues my interest in
two-movement forms that
began with my Cello
Concerto (1991), and was
later developed in
Sortilege (1996) and
Symphony (Broken Consort)
(2004). In these works,
and in the Concerto for
Orchestra, each movement
is given equal weight and
importance with the
second developing earlier
material and taking it in
new directions.The
two-movement form of the
Concerto for Orchestra
derives from a symphonic
sonata structure,
reshaping the traditional
four-movement form and
combining this with
aspects of sonata form, a
tradition that goes back
to Liszt, Schoenberg and
Sibelius:1st movement (i)
exposition of ideas -
dramatic and sudden (ii)
scherzo and development 1
- resolute2nd movement
(iii) adagio - calm and
unhurried (iv)
development 2 with
recapitulation - intense
and energeticThe Concerto
for Orchestra was
commissioned by the
Musikalische Akademie des
Nationaltheatre-Orchester
s Mannheim with the
support of Die Landesbank
Baden-Wurttemberg for its
first two performances on
31st March and 1st April
2008 conducted by
Friedemann Layer. The
score is dedicated in
friendship and admiration
to Ronald Zollman.John
Casken
3(3.pic).2.
ca.2(2.Ebcl).bcl.3(3.cbsn
)-4.3(1.Dtpt).2.btbn.1-ti
mp.3perc(crot, vib, tub
bells, sizz cym, Chinese
cym, h.h, Swiss cow-bell,
gong, horizontal gong,
2tam-t, tamb, bng, s.d,
5tom-t, b.d, clav, casts,
marac, 5tempbl, wdbl,
cabaca,
vibraslap)-hp-str. $49.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Triptych Orchestre à Cordes Carl Fischer
For String Orchestra. Composed by Ulysses Kay. Score. 16 pages. Carl Fischer...(+)
For String Orchestra.
Composed by Ulysses Kay.
Score. 16 pages. Carl
Fischer
Music #BE26. Published by
Carl Fischer Music
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Timbres, Space, Movement (orchestra) Orchestre Heugel
Orchestra (Orchestra) SKU: HL.48188488 Composed by Henri Dutilleux. Leduc...(+)
Orchestra (Orchestra)
SKU: HL.48188488
Composed by Henri
Dutilleux. Leduc.
Classical. Softcover. 104
pages. Heugel & Cie
#HE32608. Published by
Heugel & Cie
(HL.48188488). UPC:
888680866952.
8.5x11.75x0.543
inches. “Comp
osed in 1978 by Henri
Dutilleux, Timbres,
Space, Movement is a work
for Orchestra, also named
?The starry night? after
a painting by Van Gogh.
It was commisioned by
Mstislav Rostropovich for
the National Symphony
Orchestra of Washington
and is dedicated to
Charles Münch. This
great orchestral work
lasts approximately 20
minutes and depicts the
content of the painting.
It is written for a full
orchestra without Violins
or Violas. A sketch of
the placement of the
instruments is given in
the book as its
disposition differs from
a full orchestra: The
Cellos placed in a
half-circle in front of
the conductor. The Cellos
represents the space with
twirling solos and more
stagnant sections while
the lack of Violins and
Violas is for the quiet
and motionless part of
the painting. The solo of
the Winds and Drums
characterizes the clouds
and the light of the moon
and the stars. It is
divided in two parts: 1.
Nébuleuse (Nebula) and
2.Constellations, which
are divided by a Cello
interlude. Henri
Dutilleux was
internationally acclaimed
for his work winning
prizes such as the Gold
Medal of the Royal
Philharmonic Society and
the UNESCO's
International Rostrum of
Composers, amongst many
others. His work also
includes a Piano sonata,
two symphonies, the
Violin concerto 'L'arbre
des songes' (The tree of
dreams) and the Cello
concerto 'Tout un monde
lointain' (A whole
distant
word).â€. $85.80 - Voir plus => Acheter | | |
| Gate to Heaven (orchestra score) Orchestre C. Alan Publications
(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Ar...(+)
(Concerto No. 1 for
Marimba, Strings and
Percussion). Composed by
Gillingham. Arranged by
Nathan Daughtrey. For
Soloist(s) with String
Orchestra (Solo Marimba
Percussion 1 (xylophone,
bells, chimes) Percussion
2 (brake drum, cowbell,
shaker, suspended cymbal,
crash cymbals, temple
blocks, triangle)
Percussion 3 (4 toms,
crash cymbals, bass drum,
suspended cymbal, tam
tam, hi hat) Violin I
Violin II). Medium
difficult. Orchestra
score only. Duration
16:30. Published by C.
Alan Publications
$40.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Overture "Die Geschöpfe des Prometheus" for Orchestra, op. 43 Orchestre [Conducteur] Barenreiter
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra) SKU:
BA.BA11902 Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches. Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
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
$45.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Masques et Bergamasques, op. 112 Orchestre [Conducteur] Barenreiter
Suite for Orchestra. Composed by Gabriel Faure (1845-1924). Edited by Rob...(+)
Suite for
Orchestra. Composed
by Gabriel Faure
(1845-1924). Edited by
Robin Tait. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Score. Opus 112.
Baerenreiter Verlag
#BA07894. Published by
Baerenreiter Verlag
(BA.BA07894).
$38.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Child's Garden of Jazz for Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] - Avancé Cherry Classics
By Henry Wolking. For Brass Quintet. Contemporary jazz. Advanced. Score and part...(+)
By Henry Wolking. For
Brass Quintet.
Contemporary jazz.
Advanced. Score and
parts. Published by
Cherry Classics
$32.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
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). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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