| Mosaici Bizantini - Three Symphonic Sketches for Wind Orchestra, Op. 14 Orchestre [Conducteur] - Intermédiaire Hal Leonard
Wind Orchestra (Score) - Grade 5-6 SKU: HL.4008694 Wind Orchestra, Gra...(+)
Wind Orchestra (Score) -
Grade 5-6 SKU:
HL.4008694 Wind
Orchestra, Grade 5-6,
20:00 Score. Composed
by Franco Cesarini.
Editions Franco Cesarini.
Concert Band, General
Worship, Sacred.
Softcover. Duration 1200
seconds. Hal Leonard
#EFC029-SC. Published by
Hal Leonard (HL.4008694).
UPC:
196288190509. To
mark the 30th anniversary
of Mosaici Bizantini
Franco Cesarini decided
to publish this revised
version. He added a few
instruments to the
instrumentation and
completely revised the
notation. The work is now
available in large-sized
full score and
exclusively from the
composer's publishing
house. For this grand
work, Franco Cesarini was
inspired by three
byzantine mosaics, which
can be seen in churches
in Venice and Palermo. He
took the musical motives
from Gregorian chants.
The mosaics concerned
depict the following
extracts from “The
Gospel according to St.
Matthewâ€: 1. The
Nativity 2. The Temple of
Jerusalem 3. Angel of the
Resurrection This new,
revised version of this
masterpiece will delight
both the orchestra and
the audience! $78.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Claude Debussy: Nocturne Violon et Piano Schott
Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1...(+)
Violin & Orchestra
Reduction
(Piano). Composed by
Claude
Debussy (1862-1918) and
Robert Orledge. Arranged
by
Robert Orledge. String.
Softcover. 34 pages.
Schott
Music #VLB214. Published
by
Schott Music
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| La Mer Breitkopf & Härtel
Violoncello (picc.2.2.cor ang.2.3.dble bsn - 4.3.2corn.3.1. - timp.perc - 2hp - ...(+)
Violoncello (picc.2.2.cor
ang.2.3.dble bsn -
4.3.2corn.3.1. -
timp.perc - 2hp - str)
SKU: BR.OB-5399-23
Trois Esquisses
Symphoniques -
Urtext. Composed by
Claude Debussy. Edited by
Peter Jost. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
three symphonic sketches
La Mer are, after Prelude
a L'apresmidi d'un faune,
no doubt Debussy's most
frequently performed
orchestral work.
Symphonic poem; Romantic;
Late-romantic. Part. 16
pages. Duration 23'.
Breitkopf and Haertel #OB
5399-23. Published by
Breitkopf and Haertel
(BR.OB-5399-23). ISBN
9790004338377. 10 x 12.5
inches. The three
symphonic sketches La Mer
are, after Prelude a
Lapresmidi dun faune, no
doubt Debussys most
frequently performed
orchestral work. This
success derives in part
from its formal
resemblance to a
symphony, which had
already been noted by the
composers contemporaries,
and in part from its
sound, which was
associated from the very
start with the shimmer
and iridescence of
Impressionism.Peter Jost
takes all major sources
into consideration.
Ultimately, the musical
text of his Urtext
edition is based on a
copy of the second
edition of the score,
published in 1909, in
which the composer
incorporated his
experiences as auditor
and conductor into a last
authorized version. After
the cool reception given
La Mer at its world
premiere, Debussy revised
the work and conducted
the extraordinarily
successful performances
of it in early 1908 in
Paris,London and
Rome. $13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| La Mer Breitkopf & Härtel
Violin 1 (picc.2.2.cor ang.2.3.dble bsn - 4.3.2corn.3.1. - timp.perc - 2hp - str...(+)
Violin 1 (picc.2.2.cor
ang.2.3.dble bsn -
4.3.2corn.3.1. -
timp.perc - 2hp - str)
SKU: BR.OB-5399-15
Trois Esquisses
Symphoniques -
Urtext. Composed by
Claude Debussy. Edited by
Peter Jost. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
three symphonic sketches
La Mer are, after Prelude
a L'apresmidi d'un faune,
no doubt Debussy's most
frequently performed
orchestral work.
Symphonic poem; Romantic;
Late-romantic. Part. 20
pages. Duration 23'.
Breitkopf and Haertel #OB
5399-15. Published by
Breitkopf and Haertel
(BR.OB-5399-15). ISBN
9790004338346. 10 x 12.5
inches. The three
symphonic sketches La Mer
are, after Prelude a
Lapresmidi dun faune, no
doubt Debussys most
frequently performed
orchestral work. This
success derives in part
from its formal
resemblance to a
symphony, which had
already been noted by the
composers contemporaries,
and in part from its
sound, which was
associated from the very
start with the shimmer
and iridescence of
Impressionism.Peter Jost
takes all major sources
into consideration.
Ultimately, the musical
text of his Urtext
edition is based on a
copy of the second
edition of the score,
published in 1909, in
which the composer
incorporated his
experiences as auditor
and conductor into a last
authorized version. After
the cool reception given
La Mer at its world
premiere, Debussy revised
the work and conducted
the extraordinarily
successful performances
of it in early 1908 in
Paris,London and
Rome. $13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| La Mer Breitkopf & Härtel
Viola (picc.2.2.cor ang.2.3.dble bsn - 4.3.2corn.3.1. - timp.perc - 2hp - str) <...(+)
Viola (picc.2.2.cor
ang.2.3.dble bsn -
4.3.2corn.3.1. -
timp.perc - 2hp - str)
SKU: BR.OB-5399-19
Trois Esquisses
Symphoniques -
Urtext. Composed by
Claude Debussy. Edited by
Peter Jost. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
three symphonic sketches
La Mer are, after Prelude
a L'apresmidi d'un faune,
no doubt Debussy's most
frequently performed
orchestral work.
Symphonic poem; Romantic;
Late-romantic. Part. 16
pages. Duration 23'.
Breitkopf and Haertel #OB
5399-19. Published by
Breitkopf and Haertel
(BR.OB-5399-19). ISBN
9790004338360. 10 x 12.5
inches. The three
symphonic sketches La Mer
are, after Prelude a
Lapresmidi dun faune, no
doubt Debussys most
frequently performed
orchestral work. This
success derives in part
from its formal
resemblance to a
symphony, which had
already been noted by the
composers contemporaries,
and in part from its
sound, which was
associated from the very
start with the shimmer
and iridescence of
Impressionism.Peter Jost
takes all major sources
into consideration.
Ultimately, the musical
text of his Urtext
edition is based on a
copy of the second
edition of the score,
published in 1909, in
which the composer
incorporated his
experiences as auditor
and conductor into a last
authorized version. After
the cool reception given
La Mer at its world
premiere, Debussy revised
the work and conducted
the extraordinarily
successful performances
of it in early 1908 in
Paris,London and
Rome. $13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| La Mer Breitkopf & Härtel
Woodwinds (picc.2.2.cor ang.2.3.dble bsn - 4.3.2corn.3.1. - timp.perc - 2hp - st...(+)
Woodwinds (picc.2.2.cor
ang.2.3.dble bsn -
4.3.2corn.3.1. -
timp.perc - 2hp - str)
SKU: BR.OB-5399-30
Trois Esquisses
Symphoniques -
Urtext. Composed by
Claude Debussy. Edited by
Peter Jost. Folder.
Orchester-Bibliothek
(Orchestral Library). The
three symphonic sketches
La Mer are, after Prelude
a L'apresmidi d'un faune,
no doubt Debussy's most
frequently performed
orchestral work.
Symphonic poem; Romantic;
Late-romantic. Set of
parts. 240 pages.
Duration 23'. Breitkopf
and Haertel #OB 5399-30.
Published by Breitkopf
and Haertel
(BR.OB-5399-30). ISBN
9790004338391. 10 x 12.5
inches. The three
symphonic sketches La Mer
are, after Prelude a
Lapresmidi dun faune, no
doubt Debussys most
frequently performed
orchestral work. This
success derives in part
from its formal
resemblance to a
symphony, which had
already been noted by the
composers contemporaries,
and in part from its
sound, which was
associated from the very
start with the shimmer
and iridescence of
Impressionism.Peter Jost
takes all major sources
into consideration.
Ultimately, the musical
text of his Urtext
edition is based on a
copy of the second
edition of the score,
published in 1909, in
which the composer
incorporated his
experiences as auditor
and conductor into a last
authorized version. After
the cool reception given
La Mer at its world
premiere, Debussy revised
the work and conducted
the extraordinarily
successful performances
of it in early 1908 in
Paris,London and
Rome. $197.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| La Mer Breitkopf & Härtel
Double bass (picc.2.2.cor ang.2.3.dble bsn - 4.3.2corn.3.1. - timp.perc - 2hp - ...(+)
Double bass (picc.2.2.cor
ang.2.3.dble bsn -
4.3.2corn.3.1. -
timp.perc - 2hp - str)
SKU: BR.OB-5399-27
Trois Esquisses
Symphoniques -
Urtext. Composed by
Claude Debussy. Edited by
Peter Jost. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
three symphonic sketches
La Mer are, after Prelude
a L'apresmidi d'un faune,
no doubt Debussy's most
frequently performed
orchestral work.
Symphonic poem; Romantic;
Late-romantic. Part. 12
pages. Duration 23'.
Breitkopf and Haertel #OB
5399-27. Published by
Breitkopf and Haertel
(BR.OB-5399-27). ISBN
9790004338384. 10 x 12.5
inches. The three
symphonic sketches La Mer
are, after Prelude a
Lapresmidi dun faune, no
doubt Debussys most
frequently performed
orchestral work. This
success derives in part
from its formal
resemblance to a
symphony, which had
already been noted by the
composers contemporaries,
and in part from its
sound, which was
associated from the very
start with the shimmer
and iridescence of
Impressionism.Peter Jost
takes all major sources
into consideration.
Ultimately, the musical
text of his Urtext
edition is based on a
copy of the second
edition of the score,
published in 1909, in
which the composer
incorporated his
experiences as auditor
and conductor into a last
authorized version. After
the cool reception given
La Mer at its world
premiere, Debussy revised
the work and conducted
the extraordinarily
successful performances
of it in early 1908 in
Paris,London and
Rome. $13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
Plus de résultats boutique >> |