| Major Works For Orchestra Orchestre [Conducteur] Theodore Presser Co.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all SKU:
PR.816600040 Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040). UPC:
680160600045. 5.5x5
inches. This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1) CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series. $18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 7, Op. 71 "The Dreams of Gandalf" Wilhelm Hansen
Score Orchestra SKU: HL.14028658 Composed by Aulis Sallinen. Music Sales ...(+)
Score Orchestra SKU:
HL.14028658 Composed
by Aulis Sallinen. Music
Sales America. 20th
Century. Book
[Softcover]. 112 pages.
Edition Wilhelm Hansen
#NOV890195. Published by
Edition Wilhelm Hansen
(HL.14028658). ISBN
9780853609292.
8.25x11.75x0.333
inches. Aulis
Sallinen's Symphony No.7
is related to J.R.R.
Tolkien's great novel The
Lord of the Rings. The
symphony does not
actually depict the
events in the novel;
rather it is a musical
expression of the
literary atmosphere and
poetry. The symphony was
commissioned by the
Gothenburg Symphony
Orchestra and composed in
1995-6. Orchestration: 3
Flutes, 3 Oboes, 3
Clarinets in B flat, 3
Bassoons, 4 Horns in F, 4
Trumpets in B flat, 3
Trombones, Tuba, Timpani,
Percussion, Celesta,
Harp, Strings. The
duration of the work is
25 minutes, full score
and orchestral material
is available for
hire. $53.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| An Italian Elegy, from Symphony No. 4 Italian Orchestre à Cordes [Conducteur] - Intermédiaire Alfred Publishing
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr...(+)
By Felix Mendelssohn.
Arranged by Harry Alshin.
Music by Felix
Mendelssohn / arr. Harry
Alshin. For String
Orchestra. String
Orchestra. String
Orchestra. Level: 4
(grade 4). Conductor
Score. 12 pages.
Published by Alfred
Publishing.
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| An Italian Elegy, from Symphony No. 4 Italian Orchestre à Cordes - Intermédiaire Alfred Publishing
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr...(+)
By Felix Mendelssohn.
Arranged by Harry Alshin.
Music by Felix
Mendelssohn / arr. Harry
Alshin. For String
Orchestra. String
Orchestra. String
Orchestra. Level: 4
(grade 4). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Apocalyptic (Finale from Symphony No. 8) - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU...(+)
Orchestra Cello,
Contrabass, Timpani,
Viola, Violin 1, Violin 2
- Grade 4 SKU:
CF.SAS6 Composed by
Anton Bruckner. Arranged
by Kirk Moss. Set of
Score and Parts.
20+24+3+15+10+10+2 pages.
Duration 4 minutes, 56
seconds. Carl Fischer
Music #SAS6. Published by
Carl Fischer Music
(CF.SAS6). ISBN
9781491159286. UPC:
680160917860. Bruck
ner began composing the
Eighth Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it Hallelujah, and
reported
enthusiastically, The
Finale is the most
significant movement of
my life. Following the
premiere performance, a
peer composer penned, Its
success was almost
without precedent. It was
the absolute victory of
light over darkness. This
work leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival. The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds. Bruckner began
composing the Eighth
Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it
Hallelujah,†and
reported
enthusiastically,
“The Finale is the
most significant movement
of my life. Following the
premiere performance, a
peer composer penned,
“Its success was
almost without precedent.
It was the absolute
victory of light over
darkness.â€This work
leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival.The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Apocalyptic (Finale from Symphony No. 8) [Conducteur] - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU...(+)
Orchestra Cello,
Contrabass, Timpani,
Viola, Violin 1, Violin 2
- Grade 4 SKU:
CF.SAS6F Composed by
Anton Bruckner. Arranged
by Kirk Moss. Full score.
20 pages. Carl Fischer
Music #SAS6F. Published
by Carl Fischer Music
(CF.SAS6F). ISBN
9781491159453. UPC:
680160918034. Bruck
ner began composing the
Eighth Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it Hallelujah, and
reported
enthusiastically, The
Finale is the most
significant movement of
my life. Following the
premiere performance, a
peer composer penned, Its
success was almost
without precedent. It was
the absolute victory of
light over darkness. This
work leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival. The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds. Bruckner began
composing the Eighth
Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it
Hallelujah,†and
reported
enthusiastically,
“The Finale is the
most significant movement
of my life. Following the
premiere performance, a
peer composer penned,
“Its success was
almost without precedent.
It was the absolute
victory of light over
darkness.â€This work
leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival.The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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